It employs the following mappings:

• Each cardiac interbeat interval is mapped to a pitch, sounded by an oscillator that produces short sine wave sounds ("grains"), as with the diagnostic sonifications. The interbeat intervals were also used as a clock to provide the timing for each granular event.
• A bell-like sound was synthesized based on the values of the differences between successive interbeat data values. The sound was created by sending impulses to a filter bank with adjustable center frequencies and ring times. The frequency at which the impulses were generated was based on the current standard deviation window value. The center frequencies and ring times were based on the global mean of the data points, plus minimum, maximum, and mean values from the list of standard deviation values.
• A vocal chorus sound was synthesized by sending a rich harmonic wave and noise through a set of bandpass filters and setting center frequencies and their amplitude values to correspond with formant regions used in vocal synthesis [19]. The values for center frequencies and amplitudes were mappings of the standard deviation values of the inter-beat intervals in windows of 300 beats.
• The set of inter-beat intervals was subdivided into six equal subdivisions; each subdivision was successively divided in half, creating subdivisions of 1/12 the set's length, 1/24 the length, and so on to 1/768 the data set's length. The median of each subdivision was taken and mapped to a frequency and stereo pan position. The frequencies were assigned to a variety of synthesized sounds resembling a sitar, wooden wind chimes, plucked strings, and a number of abstract timbres. These sounds were generated at time intervals corresponding to the proportion of the data set they represented. A sitar-like tone was heard every time 1/6 of the data set was iterated (approximately every 40 seconds), another drone was heard every 1/12 of the set's iteration, and so on. The shortest subdivision was mapped to a plucked string sound that occurred at approximately every 0.75 seconds, thus creating the piece's "melody."