From an interview with Moondog:
PSF: You’re also working on Overtone Tree?
That’s one of my symphonies that I’ve been working on for twenty years. I finally got it finished now. I’ve been doing a lot of other work but this is a major work. I don’t expect that it’ll be ever played. It’ll probably be buried with me. It’s written for four conductors- one main conductor and three assitants because at one time, there may be as many as sixty or seventy parts going and one conductor can’t hanlde that. It’s all counterpointal. So each conductor would have his own score and be in charge of a certain section of the orchestra. It’s based on the first nine overtones and I tried that as a theme in '73 on the northwest corner of 55th Street and Sixth Avenue- that’s where I got the idea to use overtones as a theme. After I worked on it, I went to Europe. I was in Hamburg in '75 and I was working on the overtones and I finally realized that I had something interesting here. It was a code. I didn’t know it was a code but I cracked the code and found out how to develop it. Ten years later, I found out what it was. I wasn’t looking for a code.
That code proves that not only whoever created the universe does exist but he, I call him the mega-mind, wants us to know he exists. Within this code, it also proves that contraction must come before expansion. It also proves that a cause can become an effect and an effect can become a cause. It proves the two-directionality of time. It proves that the past is the future and the future is the past. All this flys in the face of what Hubble did, saying that there was a big bang and an expansion of the universe. His is a theory but mine is a fact. A fact incontrovertable, as I call it. They talked about these theories of mine on National Public Radio.