The thinking process may well be compared to the growth of a tree. Because, once the composer perceives a perfect, fundamental musical idea in his mind on the level of the harmony - like the inner structure of a seed - he creates, from the level of this pure, utmost condensed cognition, the living tree of his musical composition, right to its leaves and blossoms, in a lively continuum of thought.

And with great self-discipline he will ensure that the natural, concentrated flow of his creativity is not interrupted; otherwise the composition would immediately disintegrate - just as a tree begins to dry up from the very moment its supply of nourishment is cut off.

The term “to compose” literally means the outer assembling of elements to form an ostensible whole, which indeed contradicts the reality of creativity.

From within the unity of his inner, lively cognition, the true musical artist creates the enlivened diversity of his musical statement.

Looking at it more closely, the complete truth of how music originates within the musical poet appears much more comprehensive than assumed so far, and the melody is not the first element to originate in his mind but indeed the very last.

So far, the end of the inner musical act was thought to be the beginning of creating music.
And to the parts of an unknown whole, which were barely heard in the inner ear, some accepted, compositional structure was “attached,” which then had to simulate the impression of wholeness.