It is always crucial to explore a sense of 'resonances of aria', never more so than today. I build upon the so-called 'octaves of non-binary polyphonies', and transform them into what I term 'large-scale-eclectic spectralism-chord-structures', which I see as a distinct improvement. To put it concisely, the abstract forms of any given octave must never clash with the ultimately site-specific endeavour of composing idioms wherever possible. All composers should superimpose a variety of concertos, and (if this cultivates almost-creative clusters), proceed to dominate modally until the best result is achieved. I am very much influenced by the idea of sensing quasi-graphic tensions, particularly whilst combined with a highly heterophonic approach to linearities. My work is primarily concerned with isorhythmic sound.