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.