And we real­ize that, as the en­tire tree is there in the seed al­ready – with­out it hav­ing to prove it­self by the rela­tive proc­ess of growth – in the same man­ner, on the level of the har­mony, each mu­si­cal idea is there al­ready as the in­fi­nitely com­pres­sed full­ness of a mani­fold mu­si­cal com­po­si­tion. In­deed, we do not have to wait for the com­po­si­tion to grow – as sepa­rate from the idea: within even the small­est mu­si­cal idea the en­tire mu­si­cal work can be dis­cov­ered, and is com­pletely and per­fectly pre­sent there in in­fi­nite di­ver­sity.

Thus, the re­al­ity of true mu­sic we find in the ab­so­lu­te mu­si­cal force-field of the har­mony as a per­fect world of our pure knowl­edge, and look­ing out into the rela­tive mu­si­cal de­vel­op­ments in the se­quence-spaces, in the motif-spaces, and in the mu­si­cal sound-space, we are sur­prised to find a sepa­ra­tion be­tween the ques­tion and the an­swer of truth.

We also no­tice there a dis­tinc­tion be­tween lower and higher ful­fil­ment, and we real­ize now that this lack of unity is com­pletely bound to this lim­ited, rela­tive form of crea­tion