While har­mony is the field of pure, hu­man, mu­si­cal knowl­edge with­out di­men­sion in space and time, the har­mony-tech­nique is the gate be­tween the har­mony and the outer mu­sic – the tran­si­tion from the state of be­ing aware in one­self, to the proc­ess of be­com­ing aware of a mu­si­cal event.

For the mu­si­cal sound-space, the in­ti­mate con­nec­tion with the har­mony-tech­nique is its di­rect junc­tion with the past, pre­sent, and fu­ture; be­cause in per­fect in­te­gra­tion the har­mony-tech­nique com­prises all the laws by which the mu­si­cal sound-space is struc­tured.

On a level of or­der much higher than the motif-tech­nique, and on a level of or­der higher than even the se­quence-tech­nique, the har­mony tech­nique thus opens, in the “Now” of the pre­sent mu­si­cal event, the gate to the mu­sic that just faded and to that which is yet to come.

Through the laws of the har­mony-tech­nique, the whole com­po­si­tion is held to­gether by means of the ap­plied har­mony-tech­nique.

The har­mony-tech­nique is the har­mony’s will for power in the world of mu­sic; it is the prac­ti­cal ap­proach to the in­te­gra­tive sov­er­eignty of har­mony over the in­ner and the outer mu­si­cal event.

The har­mony-tech­nique is that se­cret field of high­est mu­si­cal power which sus­tains the sound­ing di­ver­sity of a mu­si­cal work in its well-or­gan­ized col­our­ful­ness of deep com­po­si­tional re­la­tions.

Mu­sic the­ory so far did not rec­og­nize this cen­tral po­si­tion of the har­mony-tech­nique; there­fore, it shifted into ho­moph­ony and came un­der the paralyzing in­flu­ence of ster­ile sounds – not to men­tion that mu­si­col­ogy did not apprehend the har­mony it­self, that uni­ver­sal basis of mu­sic which is be­yond sound, be­yond space and time, be­yond the world of tones, and yet com­pletely de­ter­mines the na­ture of the tone and the en­tire mu­si­cal work from within.