The ar­tis­tic mas­tery over the me­chan­ics of over­tones in the in­ner-tonal plane­tary sys­tem lies in mas­tering the rhyth­mi­cal ap­pear­ance of the in­di­vid­ual over­tones in an in­te­grated man­ner.

With the dy­namic and rhyth­mi­cal con­trol over the spec­tra of over­tones, the mu­si­cian can immeasurably in­crease the lis­tener’s aware­ness of space and time.

In the over­tone-me­chan­ics, the spa­tial dis­tance be­tween the suc­ces­sively ap­pear­ing over­tones, as well as the time flow of each in­di­vid­ual over­tone, is gov­erned by the logic of the com­po­si­tion. Through this crea­tive mas­tery over the in­ner dy­namics of the spec­trum of over­tones the sound is sys­tem­ati­cally enli­vened from within.

Through this in­te­grated, dy­namic con­trol of the dif­fer­en­ti­ated ap­pear­ance of in­di­vid­ual over­tones of a sound – in a world of dif­fer­ent timescales, and to­wards true simultaneity, to­wards a re­al­ity be­yond space and time – the com­po­si­tional logic or­gan­izes, by means of the over­tone-me­chan­ics, the mul­tiple struc­ture of the space-time re­la­tion­ship from mor­tal­ity to im­mor­tal­ity.

On the level of the mu­si­cal sound-space the com­poser dem­on­strates to the lis­tener the men­tal con­trol over space and time. Even in this outer shell of the ac­tual mu­sic, the clas­si­cal mu­si­cian, with his virtuosity, cap­tures un­bound­ed­ness and in­spires us mu­sic lovers to­wards in­ner men­tal-spiri­tual free­dom.

The in­te­grated con­trol over the over­tone-me­chan­ics, the in­ner struc­ture of the “tone”, en­ables a fusion of time and space on the level of con­scious­ness, and thereby gen­er­ates a state of bal­ance and time­less­ness in the in­fin­ity of our mu­si­cal imagi­na­tion.