Inversions

        Tonal harmonies, such as Schoenberg's, are mainly based on
tertians and expressions of analysis around the heterogeneous, to which I
do not decline its validity, but I am implying more at inter-related
functions of vectorial tensions, without the use of inversions of segments
of chords or distant relations by vague or unexplained accidentals or
modulations.  If one is to affirm one's self to the harmonic series, why
not indulge to the degree that Hindelmith prescribed. I am convinced this
is not the only approach to partials.  I believe music is more symmetrical
and relvolving in the natural tonal scheme.  My attempt is to find clean
evidence on how musical harmonies and lines function.  Therefore, all the
chords described in this system are not invertible neither are they played
other than in context of the order of their intervals for they will make
another pre-established chord.  However, it is possible to take sections
and enlist it through the octaves.  With this in mind, it becomes
difficult, for example, to play the piano with only two hands.  Three
hands or two pianos may be necessary, especially if a number of chords are
quite expansive and extended.