Thus, our feel­ing and un­der­stand­ing gradu­ally reached higher mu­si­cal knowl­edge, and reached the world of the motif-space, where, due to a re­fined per­cep­tion, we per­ceived the mo­tifs which, in­visi­ble to grosser per­cep­tion, cause and con­trol the move­ments of the tones in the mu­si­cal sound-space.

Whereas in the mu­si­cal sound-space these mo­tifs were in­ac­ces­si­ble and in­visi­ble to us, we now com­pre­hended them in the motif-space with a re­fined po­ten­tial of mu­si­cal know­ing.
And thus we be­came gradu­ally fa­mil­iar with the mo­tifs, in the same man­ner as some­one be­comes very gradu­ally fa­mil­iar with some­one else’s per­son­al­ity – while attributing less and less im­por­tance to his outer ap­pear­ance.

Very gradu­ally we found an in­visi­ble motif world hid­den in the tones of the mu­si­cal work, and with it the field of those in­ner mu­si­cal forces which gov­ern the re­ver­ber­at­ing phys­ics of mu­sic as their body.

What had been com­pletely unproven to us at the start­ing point of our mu­si­cal proc­ess of know­ing – namely the ac­tual ex­is­tence of a mu­si­cal world of forces un­derly­ing the mu­si­cal sound-space with its very own in­ner form­ing pow­ers and with its own form­ing laws – turned out to be proven as soon as we had gained per­sonal in­sight into the motif world.

Now we had proof of the ex­is­tence of a real mu­si­cal force-field, com­pre­hended by cog­ni­tion, which was more subtle than the force-field of the mu­si­cal sound-space, and which de­ter­mined from within, as if in­visi­ble, the events of the mu­si­cal sound-space – ac­cord­ing to laws of a higher or­der, higher than those ap­plied by the mu­si­cal sound-space it­self.

In the same man­ner we in­ferred in the motif-space the ex­is­tence of even more pow­er­ful in­ner form­ing forces.
This as­sump­tion was more and more sub­stan­ti­ated as we looked closer at the world of the mo­tifs.

Even­tu­ally we reached a mu­si­cal world of an even higher or­der: the mu­si­cal force-fields of the se­quences.

Here, too, we found evi­dence of what be­fore – in the motif-space – had been unproved yet. We real­ized that within the motif world, as if in­visi­ble, mu­si­cal for­ma­tive fac­ul­ties exist and act which, su­pe­rior to the forces which the mo­tifs them­selves pos­sess, gov­ern those forces of the mo­tifs from within.
And we found that these forces, newly dis­cov­ered in the se­quence-spaces, also caused – through the mo­tifs – the struc­tural change in the mu­si­cal tone-space.

A simi­lar quan­tum leap in cog­ni­tion we took from the se­quence-spaces into the in­fi­nite force-field of the har­mony.

And here again, some­thing only an­tici­pated at first, non-evi­dent, and fi­nally known more and more defi­nite, even­tu­ally turned out to be proven – once we had made the ex­peri­ence of this su­preme world of mu­sic.