 To view the overtones of a given fundamental note as a natural "model" to be imitated in art, as Schenker does, is not at all the same thing as viewing as model a chord built of several notes above the same root.The "Klang", defined by Riemann as a compound sound (i.e.a note with its overtones), and the "chord of nature", defined by Schenker as a model needing "condensation" for the artistic usage are but abstract concepts.