To maintain the special relationship discussed above I decided to come up with a few overarching elements that govern the construction of the entire piece. From the perspective of timbral synthesis I decided to limit myself to two synthesis methods which I termed Octaver and Impulser, that repeat in various forms throughout the cycle. I will discuss these two methods in detail in the following chapters. To complement these timbres each melody also contains unique sounds that are identified with it alone and do not occur elsewhere, as in the case of the Tuba in Taurus or the two singers in Pisces. Finally, the sounds of the four classical elements (Air, Fire, Water and Earth) can be heard during several moments in the piece which represent the connections of the zodiac signs to the seasons and triplicities.
With respect to the spatial organization of the sounds a unity is achieved in the form of spatial trajectories within a cubical space, where each melody follows the geometrical path of its corresponding star constellation (as can be seen below). This cube is then projected onto the space of the concert hall. As mentioned above, each of the twelve melodies has a central tone which corresponds to one note of the chromatic scale. This tone is mapped to one of the stars in the constellation and localised to the position of the constellation in the zodiac cycle. For example, the central tone for the Pisces melody is E, located at -30°. The central tone for the Aries melody is F, located at 0°, etc. Once the central tone is localised the orientation of the other stars in the constellation is determined according to their geometrical relation to the chosen star.