If, in the state of su­preme mu­si­cal ful­fil­ment, we im­merse our radi­ant eye into the lim­ited mu­si­cal worlds of the se­quences, the mo­tifs, and the sounds, then we no­tice in our in­ner, radi­ant ful­fil­ment a very in­con­spicu­ous shadow of non-ful­fil­ment.
And we real­ize that this tiny shadow of non-ful­fil­ment is as­so­ci­ated with our­selves look­ing out into the lim­ited mu­si­cal world – that this look­ing out en­tails a min­ute bond­age of our free mu­si­cal joy of crea­tiv­ity to the lim­ited world of form­ing the tones.

There­fore, we want to turn our vi­sion back and keep it stead­ily di­rected to­wards the per­fect mu­si­cal force-field of the har­mony, for this ab­so­lu­te mu­si­cal world alone guar­an­tees us un­spoiled ful­fil­ment.
Our de­sire to elimi­nate even the most min­ute im­pair­ment of our per­fect mu­si­cal ex­peri­ence stems from our natu­ral in­ner­most strive for the com­plete re­lease of our in­ner­most crea­tive power.

But then we ob­serve that, along with re­tir­ing our at­ten­tion from the rela­tive mu­si­cal proc­ess of know­ing, all life van­ishes in this lim­ited world of mu­sic.

And when we imag­ine now the new mu­sic lis­tener who is still at the outset of his rela­tive mu­si­cal road to knowl­edge, and when we imag­ine how, with our re­treat from the rela­tive mu­si­cal fields of knowl­edge, even the last ray of light of fac­tual mu­si­cal knowl­edge fades for him, then we de­cide at our own dis­cre­tion and in fa­vour of the mu­sic lis­tener who as­pires to knowl­edge, to leave our at­ten­tion – from the ab­so­lu­te mu­si­cal level of the har­mony – on the rela­tive mu­si­cal force-fields of the mu­si­cal proc­ess of gain­ing knowl­edge, even if we thereby re­duce our per­sonal com­plete mu­si­cal ful­fil­ment by a min­ute de­gree.

Now we de­cide in fa­vour of that in­ner de­sire for lib­era­tion which we know to be pre­sent in eve­ry mu­sic lis­tener.
It was this so fun­da­men­tally hu­man de­sire for lib­era­tion that once urged us to enter the path of mu­si­cal gain­ing knowl­edge, that firmly held us there, and that let us com­plete the mu­si­cal proc­ess of know­ing un­per­turbedly.

How­ever, suc­cess was pos­si­ble only be­cause be­fore, within the ab­so­lu­te mu­si­cal force-field of the har­mony, an­other mu­sic lis­tener, now turned mu­sic crea­tor, had freely de­cided in our fa­vour to keep his at­ten­tion in the rela­tive mu­si­cal force-fields, to per­son­ally light us the path of knowl­edge into the in­fin­ity of the har­mony.

And here we wit­ness the birth of a tone crea­tor – of a mu­sic crea­tor.