Highest Quality – Polyphonic (polytonal & polyrhythmical) Performance
Excerpt from Peter Hübner's Book: “Natural Music Creation
The Differentiated Apprehension
of the Power of Harmony

Ba­si­cally, it is the har­mony which di­rectly re­veals it­self in the tone, in the motif and in the se­quence. But the dif­fer­en­ti­ated ap­pre­hen­sion of this di­rect power ex­pres­ses it­self in the sys­tems of the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique.

The Systems of the Overtone-Mechanics, the Motiv-Technique, the Sequence-Technique, and the Harmony-Technique
Deeper and deeper in­sight into more com­pre­hen­sive mu­si­cal or­ders gives the mu­si­cian, as well as the lis­tener, ever more ful­fill­ing knowl­edge, and thus trans­forms the mu­sic lis­tener into a mu­sic lover.

Thus, the vari­ous “hori­zon­tal” sys­tems of mu­si­cal or­der appear merely as outer ex­pres­sions of the se­cret “ver­ti­cal” sov­er­eignty of the har­mony.

The Inner-Human Path of Realization
On the other hand, from this “ver­ti­cal” view­point the un­der­stand­ing arises that

The Dual Musical Structure of Order
    from a state of greater sub­tlety the world of lesser sub­tlety is gov­erned, and that

    from the sub­jec­tive world the ob­jec­tive world is gov­erned.
Thus, from a su­pe­rior or­der
    the world of the sound-space is ruled by the world of the motif,

    the world of the motif is ruled by the world of the se­quence,

    and the world of the se­quence is ruled by the har­mony.

Mastership of the Musical Creator over the Created Composition
From the state of greater sub­tlety, the motif per­me­ates the mu­si­cal sound-spaces from within:
    the motif cre­ates them, fills them with life, sus­tains them, de­stroys them.
From the state of even greater sub­tlety, the se­quence per­me­ates the motif-spaces from within:
    the se­quence cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the sound-spaces.
From the state of great­est sub­tlety, the har­mony per­me­ates the se­quence-spaces from within:
    the har­mony cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the motif-spaces, and with these again, the sound-spaces.

Power Relations in the Musical Force Fields
These are the two fun­da­men­tal an­gles un­der which to con­sider the in­ner mu­si­cal or­der:
The hori­zon­tal an­gle, men­tioned ear­lier, takes the outer size of the re­spec­tive sys­tems as the cri­te­rion to gain knowl­edge; the ver­ti­cal an­gle takes the de­gree of mu­si­cal sub­tlety as the cri­te­rion to gain knowl­edge.

Criteria for the Complexity and the Degree of Subtlety
  << >>    
  With kind permission of AAR EDITION INTERNATIONAL