1. The movement in music is neither a tempo nor an alternation of sounds of different length; it is the movement, according to the symmetrical time frame. Music that coincides with the symmetrical time frame, doesn’t have movement in it.
2. There are two ways of creating (organizing) the movement in music (namely, two ways of working with the time): the compensating way (time glides from one note-length to another) and the non-compensating way (time is confiscated without the compensation of its length). If you use the compensating way, you will sometimes get the coincidence with the symmetrical time frame. If you use the non-compensating way, you will never get the coincidence with the symmetrical time frame. Authentic players use both of these ways simultaneously.
3. Different ways of organizing the movement in music influence the emotional perception of music. There are some destructive ways of music organization which have a negative influence on physical and emotional state of a human being (so called, destructive grooves).
4. Authentic players enhance a tempo of music not by increasing the number of beats per one unit of time -they use the non-compensative way to decrease the length of one of the beats in each couple of beats (in the case of double-beat meters).
5. The loudness and the length of sound do not depend on one another, though they are tightly interconnected. Loudness and length are the two parallel systems that create the movement in music.
6. Using the sounds of different length (as in p. 2) and loudness can help create the musical rhyme (musical constructions that sound very similar to a rhymed poetic verse which, in fact, has no text while recited).
7. Swiftness of the musical rhyme indicates the character of the musical movement.