  Since the will expresses itself in Ideas as well as in music, Schopenhauer reasons that there must be analogies between them.  Indeed, he draws out many such structural analogies: between the bass notes of harmony and the lower grades of objectification of the will in inorganic nature; between melody and the human being’s “most secret story,” that is, “every emotion, every striving, every movement of the will, everything that reason collects under the broad and negative concept of feeling” (WWR I, 287); rhythms such as those of dance music are analogous to easy, common happiness, while the allegro maestoso corresponds to grand, noble strivings after distant goals; the “inexhaustibility” of possible melodies is analogous to the “inexhaustibility of nature in the variety of individuals, physiognomies and life histories.” (WWR I, 288).