A human quality is a force, and we get a feeling for the dimension of this force when qualities of opposing nature collide with each other.

No matter how loud the motif will sound, as long as we restrict it to a particular point in the acoustic space, by assigning it to a fixed group of instruments or one instrument, even a very imaginative listener will only get a faint idea of the immense impression of space the composer originally experienced. Also, we feel only little of the nature of the inner-human quality to be expressed, we experience only little of the power with which that human quality rises from the field of our innermost conscience into the world of feeling and thinking and impels us to act, and we feel nothing of a skilful handling of our most important inner-human driving forces which, from the point of view of our great classical musicians, are meant to make us human beings free masters of ourselves.

In the conventional practice of performance the motif body is played without dimension. This can be compared to showing flat balloons to someone, trying to inspire him particularly in terms of form and colour. To create a colourful impression of space the balloons must be inflated and released to fly.

As we will see later, the realization of the motif-technique requires a proficient mastery of the overtone-mechanics of the sound.

As mentioned earlier, a musical motif always expresses a specific inner-human quality, and wherever it appears, the language of music elucidates how a particular human quality influences its surroundings and aspires sovereignty in the process of the fulfilment of desire.

This universal musical portrayal of universally-human nature accounts for the great charm of classical music, for as confidently as the scientist knows the outer world and describes it from outside, as confidently the classical composer knows and describes our inner world of man.