In this composition, as well as in many of his compositions for orchestra as well as for smaller ensembles, the composer has applied what he named as Register–Related Reharmonization (RRR). Depending on the desired effect, the composer can select numerous variations of the ‘tripartite’ vertical structure in the voicing — chord sound (a triad or seventh chord) , tension notes (9th, 11th and or 13th) and the upper tension notes (complementing the remaining pitch classes to twelve. By default, they are arranged in bottom–up order, meaning the chord sound in the relatively lower register, the tension notes in the middle, and the upper tension notes in the higher register. With this organization, the chord sound combined with the tension notes will dominate and will define clearly the macro–progression, while the upper tension notes will bring some additional nuance to the sound, extra tension, new character, etc. In combination with the variety of voicing techniques the composer practically has a wide palette of options to choose from.