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The Differentiated Cognizing
of the Power of Harmony

Systems of the Overtone-Mechanics,

4. 4, 5, 11. 20, 21, 18. 32, 33
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

the Motif-Technique,

5. 6, 7, 10. 18, 19, 17. 30, 31
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

the Sequence-Technique,

5. 9, 6. 10, 10. 16, 17, 17. 28, 29
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

and the Harmony-Technique

6. 10, 11, 9. 14, 15, 16. 26, 27
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

Basically, it is the harmony
6. 10, 11, 9. 14, 15, 16. 26, 27

which directly reveals
5. 7, 8, 9, 6. 10, 11, 7. 12, 8. 13, 9. 14, 15, 10. 16, 17, 18, 15. 25,
16. 26, 27, 17. 28, 29, 30

itself in the tone,
4. 4, 5, 11. 20, 21, 18. 32, 33

in the motif
5. 6, 7, 10. 18, 19, 17. 30, 31

and in the sequence.
5. 9, 6. 10, 10. 16, 17, 17. 28, 29

But the differentiated cognizing
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30

of this direct power expresses itself in the systems of the
overtone-mechanics,

4. 4, 5, 11. 20, 21, 18. 32, 33
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

the motif-technique,
5. 6, 7, 10. 18, 19, 17. 30, 31
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

the sequence-technique,
5. 9, 6. 10, 10. 16, 17, 17. 28, 29
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18

and the harmony-technique.
6. 10, 11, 9. 14, 15, 16. 26, 27
5. 7, 8, 6. 11, 7. 12, 8. 13, 9. 14, 10. 17, 18, 15. 25, 16. 26, 17. 29, 30
4, 11, 18