The system offers various modulation techniques and analytical models, thus creating the foundation for a new musical syntax. Although the chord progressions and modulations (to other transpositions, other augmentations or both) can be modeled after the Western tonal system (considering its presumed ties with the harmonic series), I rarely apply such rigid concepts to my music. I prefer to explore unique characters of new music materials. My analyses show the modes derived from the first sixteen notes of the series, the chords derived from the first six notes of the series, and quasi tonic-dominant progressions corresponding to the position of the implied tonic/dominant triads as found in the harmonic series. The fundamental of the series is treated as a quasi tonic. All mentioned modes and chords are always determined by both the octave repetitions and primary interval recurrences. Since the function of the primary interval recurrences can be in this system compared to the octave repetitions, there are always at least two main interpretations of the pitches in the augmented series of the system (the first, more traditional, interpretation views octaves as doublings, while the second one treats primary intervals as such).