Illustrations:
three individual variations within the pattern

Brief description

1. He began and took initiatives with the purpose of putting his inner context in better order;
   
   Important initiatives were always supported by his will to express himself resolutely;
    
2. He directed his initiatives, via his limitless capacity to empathize, towards his excellent memory of experiences;
   
   He had two capacities for communication in the background at his disposal which, if they would use words at all, would have a musical expression added to them;
   
    
3. Next he brought his unique experience, via his capacity of quiet insight into his own needs, in relation with the present initiative and determined its practical value for himself;
4. Then again he transformed the perspective. From the practical interest and with the use of his energy - of which he had plenty - to fit in data directly, he shifts focus toward the point of view of his concise and practical beliefs;
   This energy is linked, on the one side to his very personal and minutely structuring manner of working, on the other side to his three capacities to express himself in music which were his goal, by which this energy also links both sides;
5. Then, via his capacity to express himself automatically in music, he moved towards his basis (security, family origin) of different emotions where he fused everything [in text and music] subjectively;
   The professional is working at home, with great skill and expertise, working to order as well as doing quality work, in a home where young pupils were performing routine jobs like, for example, copying music scores;
6. He brought this complex of experience, value, story and emotion back again, via his ability to communicate, to the perspective of his experience and to his overall perspective;
    
7. This movement within the process is repeated and if necessary he followed again the same series of perspectives: from making new music, to his practical frame of reference, via his intense believe and ideals, to communicating about feelings, and back again to the music.

1. Bach brought his social position and (in)securities, in which he wanted to shape his beliefs and ideals, via his capacity for persuasion to compellingly bring together, to the confrontation of his balanced choices with other people's values;
   
   
   He added that, via his capacity to interact musically, to his collection of renovative experiences;
    
2. In essence his behaviour was emotional, looking for security and support. He brought that, via his capacity to share emotions harmoniously, to the perspective of cooperation or sought after experiences which should be detailed;
   He also added that, via his capacity to communicate musically, to the collection of renovative experiences;
    
3. He brought his social environment, which he considered to be reserved and authoritarian, via his capacity to structure into minute detail, to relate upon his controlling way of working and achieving;
   Subsequently he related that, via his capacity to express himself decidedly, to expressing himself in an intuitive manner. He decidedly wanted to put it into practice and to express himself this way;
4. Managing knowledge and information in his attentive way, he related this, via his capacity to interact musically, with his collection of renovative experiences;

He added this also to the above-described movement which started in the 12th phase: it had to serve his unique and musical goal.
 

Brief description

1. He begins and takes initiatives with the purpose of finding the clue to things;
    
2. With this as a starting point he directs himself, via his capacity to intuitively handle details, towards work of which he likes to make a show;
3. By working he shifts his perspective, via his will to give basic support and gain a bond, to trying to find something to hold on to in communication;
4. This need for a communicative grip he brings, via his ability to communicate with a playful show, towards playing in an ensemble;
5. Since his capacity to express his emotions playfully is located in the same phase, he does not shift his perspective;
   
   
   He just goes on playing, with his capacity to do things as a routine joined with his practical energy, which in turn form a strong focal point as they are combined with his capacity to express his emotions and his ability to communicate;
   
   Through this form of communication much energy emerges for both quiet flexibility and structuring out of his own resources;
    

All feeding from the other areas eventually reach the area of playing and showing.
 

Brief description

1. She directed her initiatives to uniting, bringing together;
    
    
2. From there she directs herself, via her tenacious and ordering intuition, toward thorough and reliable information. She already held the clue to everything, now she would thoroughly, self-willed and capably strike out her own course;
3. From there, she shifted her perspective, via minutely sharing of experiences, towards the specific suppletion which she needed:
   
   'That is what I really want, but this partner of mine has to be modest';
4. Next she shifted the help, via her capacity to have control by working with information, to the perspective of a leadership that works: 'Does it add to my overall view and does the partner work under my leadership?';
5. From her work, via exactly this assistance, she shifted her perspective back again to the actual execution with the help of the partner;
6. This part of the process continues to oscillate between her own controlled and controlling work and the pleasant messengers and honest helpers;
    

Wilhelmina could be very nice to people but also suddenly turn away from them in a sharp and critical way.