The timbral effects of these combination tones include overtones, inharmonic partials, and noise. At times, the distinction between pitch and timbre is blurred. To listen to I of IV is to experience a remarkable sonic landscape. The reverberation and combination tones create a rotating effect, as if the sounds were turning in space or carving a figure eight. As they echo, the timbre of the clicks grows fatter.
Higher tones play short pointillistic rhythms, a sonic interchange that implies ricochet.
A pair of contrasting spaces then emerges the lower register evokes a large, open space, while the upper register suggests a smaller, more intimate space. The next two and a half minutes feature a thick collection of pulsating sounds comprised of clusters of tones to which it is nearly impossible to ascribe pitches. The timbres are metallic, and higher pitched overtones, like whistles, are also apparent. But any distinction between pitch and timbre is completely blurred. The aural effect is both lush and unsettling.