In creating each piece I try to think of all ten spheres, their impact on each other and the “conversations” that would play between them. Musically, we would call them motifs.
I started wtih Chesed, Gevurah and Tiferet, the triad of emotions. Chesed and Gevurah mirror each other and Tiferet brings them together.
With Netzach, Hod and Yesod, I was working with being pro-active (Netzach), reactive (Hod) and Yesod which is foundational, grounding Netzach and Hod.
Malchut - Kingship - makes me think of Mahattan in New York city. The best and the worst at full tilt.
With Keter, Binah and Chochmah, it has to have the seed of the lower seven spheres.
The highest triad, some would argue that Keter is even impossible to explain. That’s why there’s music.
:-)
To me Keter is where the inspirations come from. At this point they are formless. They become a seed of an idea in Chochmah and finally gestate in the womb of Binah.
I do not profess to be a great scholar, so I apologize in advance for anyone withing to dispute my feelings of the spheroth.
I do know that in my healing work, I have found these impressions helpful and that each of the four sections; sprititual triad, emotional triad, physical triad and kingship have a balancing effect on the listener.