The se­quence is that mu­si­cal force which lov­ingly leads the danc­ing mo­tifs from one se­quence world into the next, in­spir­ing them to new crea­tive un­fold­ment in a har­mo­ni­ous man­ner, so that all the mo­tifs, al­though striv­ing apart and back to each other in many ways, still travel through each new world col­lec­tively and – with the help of the se­quence – enter ever new di­men­sions of mu­si­cal un­fold­ment.

At each tran­si­tion from one se­quence world into the next, the full beauty of the form of the se­quence ap­pears par­ticu­larly dis­tinct. Like a mother, it guides the mo­tifs – col­lects them in the old world, en­cour­ages them to enter the new world and, through the charm of its moth­erly beauty, gives them con­fi­dence to ad­vance with­out fear into the new land of the next se­quence; be­cause, to the “chil­dren” (the mo­tifs), the new se­quence world ap­pears as the mys­teri­ous, un­known sphere of a new gen­era­tion.

The se­quence-tech­nique is that fac­ulty of the mu­si­cal logic which gov­erns the motif-tech­nique from within. In ac­cor­dance with the in­ner for­ma­tive laws of the se­quence-tech­nique, the se­quence stimu­lates the mo­tifs, holds them to­gether, and again soothes them – like a mother tend­ing her chil­dren.

The se­quence-tech­nique pre­vents the natu­ral or­der of the mo­tifs from disin­te­grat­ing even if the mo­tifs are of op­pos­ing na­ture and even if, in the course of the mu­si­cal event, they con­tra­dict each other ever so much.

In the form of the laws of the har­mony, the se­quence-tech­nique con­tains those prin­ci­ples which im­prove the re­la­tion of the mo­tifs among each other.

The se­quence-tech­nique is the “field of the so­cial laws of the mo­tifs,” while the motif-tech­nique com­prises the in­di­vid­ual laws of the mo­tifs.

The se­quence-tech­nique, there­fore, is a natu­ral su­pe­rior or­der of the motif-tech­nique. The motif-tech­nique evolves from the se­quence-tech­nique; it is, in its latent form, al­ready pre­sent within it, and is not later at­tached ar­ti­fi­cially to the se­quence-tech­nique.

The se­quence is that in­ner life-im­pulse of the com­po­si­tion which unites the mo­tifs so natu­rally as our palm holds our fin­gers to­gether. And as lit­tle as the palm moves when ac­ti­vat­ing the in­di­vid­ual fin­gers, as lit­tle is the se­quence moved even when the in­di­vid­ual mo­tifs are mov­ing apart, or to­gether again, in the mu­si­cal dance.

And due to this dis­crete na­ture of its ac­tiv­ity, the se­quence is not eas­ily iden­ti­fied in the com­po­si­tion.

Thus, the se­quence acts as the all-nour­ish­ing motif mother be­tween the har­mony and the danc­ing mo­tifs, and en­chants the mo­tifs with the quali­ties of the har­mony.

In a moth­erly way, the se­quence holds the mo­tifs to­gether and har­mon­izes their in­ten­tions which are often striv­ing apart; at the same time, how­ever, it leaves them ex­tremely wide scope for in­di­vid­ual crea­tive un­fold­ment.

On the level of the se­quence-tech­nique, the art of com­pos­ing lies in the se­quence only pro­mot­ing, and never in­hib­it­ing, the free un­fold­ment of the mo­tifs in the course of the mu­si­cal event, and it also lies in the mo­tifs, in­spired by the beauty of the se­quence, al­ways and only liv­ing the natu­ral in­ner power of the har­mony.

The mas­tery over the ap­plied se­quence-tech­nique con­sists of the art of merg­ing the mo­tifs with the har­mony of the com­po­si­tion.

Thus, the ap­plied se­quence-tech­nique rep­re­sents a more com­pre­hen­sive for­ma­tive will than the ap­plied motif-tech­nique be­cause it acts in a su­pe­rior di­men­sion of a mu­si­cal or­der, in the world of the se­quence, where the in­di­vid­ual mo­tifs are held to­gether on the level of the so­cial struc­ture of the com­po­si­tion.

In this way, the moth­ers (the se­quences) are serv­ing the fore-fa­ther of mu­sic (the har­mony) by in­spir­ing his chil­dren (the mo­tifs), and by guiding them through the world of mu­sic.