In its sys­tems of tonalities, the world of mu­si­cal or­ders con­tains re­la­tion­ships be­tween sounds as clearly de­fined as our hu­man so­cial struc­tures. In the melody, the motif-tech­nique por­trays the coex­is­tence of the in­di­vid­ual with it­self, while the se­quence-tech­nique por­trays the in­di­vid­ual’s coex­is­tence with the other mem­bers of so­ci­ety.

At the height of ac­com­plished com­pos­ing, the syn­the­sis of motif-tech­nique and se­quence-tech­nique re­sults in an in­te­gra­tion of in­di­vid­ual and so­cial life, so that, from the in­di­vid­ual’s point of view, not only his in­di­vid­ual, but also his so­cial life is cov­ered com­pletely in this per­fect mu­si­cal pres­en­ta­tion.

The se­quences de­ter­mine the dif­fer­ent so­cial struc­tures of the mo­tifs – from small to large, from fam­ily to so­ci­ety and even larger; they pro­vide the in­di­vid­ual mo­tifs with the full­ness of the world of un­bound­ed­ness – from the in­fin­ity of the har­mony; for the se­quences are the mul­ti­fari­ous ex­pres­sions of the har­mony, this one great fa­ther of all the motif-chil­dren who in the worlds of se­quences ap­pears in a mani­fold moth­erly form – as a noble, loving guide on their great path of in­di­vid­ual un­fold­ment.

Here the com­po­si­tion, in the di­ver­sity of its sys­tems and struc­tures, only elu­ci­dates the in­her­ent om­nipo­tence of that one great har­mony which is the basis of all se­quences, all melo­dies, all mo­tifs, and all tones, but also of all mu­si­cal sound-spaces, and which for the en­tire mu­si­cal event is noth­ing other than the mani­fold play of it­self with it­self and within it­self – for the at­ten­tive lis­tener mu­sic per se.