Thus, the har­mony radi­ates as the one great soul of the com­po­si­tion through­out the en­tire mu­si­cal work.
This uni­ver­sal soul mani­fests in the mul­ti­plic­ity of the in­di­vid­ual souls, in the forms of se­quence and mo­tifs; but har­mony is also mani­fest in the in­ani­mate world of mu­sic, the mu­si­cal sound-space.

Har­mony it­self has in­fi­nitely many as­pects which are ex­pres­sed in the un­bounded di­ver­sity of the mo­tifs, the melo­dies, and the se­quences. Yet, all these dif­fer­ent fea­tures and forms are but the col­our­ful ex­pres­sion of the one har­mony play­ing with it­self, within it­self – ac­cord­ing to its own pow­er­ful laws.

The knowl­edge of these laws of mu­si­cal un­fold­ment lies be­tween the in­ner hear­ing and the in­ner cog­niz­ing in an area of the mind, which in­te­grates hear­ing and cog­niz­ing.

From within the har­mony, all the laws of mu­sic aspire to their ap­pli­ca­tion through the har­mony-tech­nique. The har­mony-tech­nique also sym­bol­izes the as­pi­ra­tion of all the laws of mu­sic to ex­press them­selves in the world of mu­sic.

Thus, the har­mony-tech­nique joins the beauty and power of the har­mony, rest­ing within them­selves, with the sound­ing world of enli­vened mu­sic, and ex­pres­ses this truth in its purest form on the level of the se­quence.

Af­ter a long jour­ney through the dif­fer­ent lev­els of the com­po­si­tion the har­mony even­tu­ally reaches the im­me­di­ate prox­imity of the mu­si­cal sound-space where it ex­pres­ses it­self in the power and beauty of the song of the melody.

The in­te­grated di­ver­sity of the se­quences, melo­dies, and mo­tifs enli­vens within the lis­tener the world of his in­ner cog­ni­tion and a natu­ral aware­ness of his own in­ner power: the pro­found feel­ing of free sov­er­eignty over his in­ner po­ten­tial of hap­pi­ness.

The mu­si­cian who, when mu­si­cally struc­tur­ing the sound-space, wants to ex­press this in­ner lively world out­wardly, will ini­tially en­coun­ter dif­fi­cul­ties, be­cause some­thing from inside can­not read­ily be trans­formed into some­thing out­side.

To mas­ter this task of ex­press­ing com­pre­hen­sive hu­man val­ues through the in­ter­pre­ta­tion re­quires great ideals and the aware­ness of a deep, con­scious re­spon­si­bil­ity to­wards hu­man­ity.

Love of mu­sic is es­sen­tially a qual­ity of the lis­tener. In the in­ter­preter, in the mu­sic ex­pert, it is the love of man­kind which must domi­nate if he wants to pro­mote the good in the world through mu­sic.
And when the mu­si­cian ful­fils this re­quire­ment, he will have the ba­sic at­ti­tude needed to ac­com­plish the la­bo­ri­ous proc­ess of truth­ful con­vey­ance of mu­sic un­per­turbed, and he will emerge from it ful­filled.