Lived time is subdivided into quanta, forming chains of corpuscles or monads, and there is a triggered progression of these like a heartbeat which refreshes the conscious state in a variable rhythm. Each unit begins in a concentrated flash of implicit content which then unfolds and extends itself, fading more or less quickly. While each such moment contains the entire present only one aspect of it is dominant, and in the succession of moments this salient feature changes according to the quality of experience. In an anxious state the moments are very short, their initial intensity is great but fades rapidly so that the discontinuity between successive moments, even if their content is hardly different, is amplified and lends a jarring quality to the experience - we are never at home in anxiety no matter how normal a state it might be. In a relaxed and pleasant state the moments seem lengthened, to fade slowly and to be gently resumed by the each following moment. The inherent pleasure of sustained consciousness in lengthened moments quite apart from their continuity explains the predilection for sad music, the sadness functioning here as an intensifier (of interest, of narrative, of sympathy...) which matches the consciousness in our listening to the slow time of the composition. Whether some such theory of the internal time consciousness, supplementary to Husserl perhaps, can be justified, it seems to be needed to explain the simplest of facts: that our experience is continually changing and in quite radical ways while still being unproblematically our experience, and that we can refer to it as our experience as if we were both in it, a part of it, and it were unfolding before us, for us.