While harmony is the field of pure, human, musical knowledge without dimension in space and time, the harmony-technique is the gate between the harmony and the outer music - the transition from the state of being aware in oneself, to the process of becoming aware of a musical event.

For the musical sound-space, the intimate connection with the harmony-technique is its direct junction with the past, present, and future; because in perfect integration the harmony-technique comprises all the laws by which the musical sound-space is structured.

On a level of order much higher than the motif-technique, and on a level of order higher than even the sequence-technique, the harmony technique thus opens, in the “Now” of the present musical event, the gate to the music that just faded and to that which is yet to come.

Through the laws of the harmony-technique, the whole composition is held together by means of the applied harmony-technique.

The harmony-technique is the harmony’s will for power in the world of music; it is the practical approach to the integrative sovereignty of harmony over the inner and the outer musical event.

The harmony-technique is that secret field of highest musical power which sustains the sounding diversity of a musical work in its well-organized colourfulness of deep compositional relations.

Music theory so far did not recognize this central position of the harmony-technique; therefore, it shifted into homophony and came under the paralyzing influence of sterile sounds - not to mention that musicology did not apprehend the harmony itself, that universal basis of music which is beyond sound, beyond space and time, beyond the world of tones, and yet completely determines the nature of the tone and the entire musical work from within.