those close to each other will create groups”.
The analogy in musical perception is when instead of space we put time as a factor and replace objects with notes. [James Tenney, 1977]
In the example above, the notes where they are closest, and those played together, create a sound group, while silence is their dividing line.

The Principle of Similarity

A second rule of Wertheimer [1938] is the Principle of Similarity, that states: “In a set of visual elements, those that are similar tend to form visual groups.”
In the example above, we can distinguish the different pieces of the song, creating groups depending on the complexity and tone. But many times, the complexion may come into conflict with tonality, whichever is more prevalent.
So, although tracks are very close to tonality, they will sound as separate because they have a very large difference in tone (case: yellow – red). Also, this grouping is even valid in their simultaneous arrangement (case: blue – green). [James Tenney, 1977]
The following diagrams on the horizontal axis show the time and the vertical one scale with various musical parameters per diagram. This aims to show a profile of the elements that create groups, but also to highlight them in the whole of the musical work.
The temporal proximity between the tones is shown on the horizontal axis, while the parametric relativity from the vertical. In the second example, clusters are formed about time closure, while in the third group the groups are related to the intimacy of the vertical factor.

The Principle of Intensity

One secondary rule, according to James Tanney, is the “Principle of Intensity”. This rule is directly related to what elements are considered by man to be more important among a set of elements and therefore more attention is paid to them. It is based on the “masking principle” that occurs when different gestalt rules conflict with each other, so we do not focus our attention somewhere in particular. With this rationale, we can “hide” a scheme where we would normally be immediately identifiable, so we put more information that leads to other conclusions.
Looking at an image, our eye tends to focus on the most intense objects. First, observes the basic subject and then goes on to examine the secondary. Usually, the main elements are also those that will be captured in memory. There is a hierarchy to the objects we see, emphasizing them with the greatest intensity.
The Principle of Intensity, therefore, has to do with the sound groups to which the listener gives more attention.
The general definition (including other parameters) is as follows: “In a set of sound elements, among which we have great differences in intensity value, attention will be focused on these groups at the highest price, since the other factors remain the same”. [James Tenney, 1977, p.41]

The Principle of Completion

There is still a fact that is related to the principle of completion or to the good shape. According to this principle, the eye tries to fill in the information gaps in order to create a more comprehensible shape.
Similarly, in music, there is “Music Expectation,” where the listener listens to a set of notes that normally form a chord whose main tone is omitted, but the listener’s ear is normally heard. This is fully consistent with G