In this manner, the applied motif-technique portrays the course of our individual gaining knowledge, and describes on this basis: our unfoldment of character and our progress on our individual path of life.

The motif-technique describes the rules by which our process of cognition unfolds. We know these rules as the very personal maxims of our life and we conceive them most clearly as far as our personal life is concerned on the level of our individual conscience.

The motifs themselves represent our inner cognitive forces, i.e. our inner individual forces of motivation which unfold to the rules of our conscience.
And from the forces that move to the individual life rules, in the flow of time the song of our individual path of knowledge arises: the melody.

The applied sequence-technique describes the sum of our individual ways of life. Permanently, individual lives emerge from the sequence, and others merge with it. In this respect, the applied sequence-technique describes the sum of individual life-courses the whole as the sum of the individual parts.

The sequence-technique describes the rules to which the individual parts behave as they unfold towards wholeness; the sequence-technique describes the relation of the individual to the social community, and by virtue of it, the great classical composers trace out in their compositions patterns of perfect individual behaviour in the community of men.

In so far, our classical composers establish social standards with the help of the sequence-technique, and on this level of creating music they provide practical patterns of experience examples of a more and more fulfilling personal life in society.

But here and there it also occurs that, in their art, great classical composers mould entire peoples into a living entity without the individual peoples being affected in their individual character on the contrary indeed: here, in the sound of music, means and ways are designated for the mutual stimulation of entire peoples.

The musical sequences symbolize our social forces by harmonically combining the individual forces depicted in the motifs with each other.

Thus, every sequence is permanently in contact with quite a number of motifs which circle the sequence like a swarm of fish swimming around their mother fish.

Just as small fish playfully swim about their mother fish and to the laws of a higher order sometimes move together in this or in that direction, sometimes dashing completely apart and rushing back to each other again, in the same manner the motifs, with their multitude of individual action, move around the sequence and the sounds again float around the motifs in the musical sound-space, like the planets in space float around their suns.

These planets are set into and kept in motion by the motifs, from the inner exuberance of those beings that are displayed in the motifs under the loving guidance of the sequences, on which the motifs naturally lean in a music unfolding harmoniously, just as children thrive on their parents in a harmonious family.