The article deals with the potential music coined by Tomas Lefever, composer, essayist, and poet, whose work has crossed the logical resources of the music aerially, transplanting its hegemony in a dynamism of the sensitive. We will revise, in what follows, a problematic index of philosophical origin that promotes in Lefever a kind of thought of antagonistic or contradictory matrix. We will also show that his musical invention raises affectivity as one of its essential parts, questions the logical determinations that circumscribe the score, and violates its teleological trajectory. For the sake of an approach to Tomas Lefever's almost unpublished thought, we will approach power and spontaneity as elements that express two characters of affectivity. Finally, we will see that Lefever's invention finds in the latter both a fundamental principle of musical invention and support for vital elaborations and drifts.