One solution might be to adjust the volume of the clicks in proportion to their depth. This can work, but only to a limited extent; rapid, subtle changes in volume are difficult for the ear to discern clearly.
A better approach is to use different voices to represent different depths. Here are the voice assignments for this orchestrated rendition of the same piece:
| Pulse | Instrument | |
| Eighth note | Claves | |
| Quarter note | High Wood Block | |
| Half note | Tambourine | |
| Whole note | Open Cuica | |
| 8 beat | Tom-Tom/Bass Drum | |
| 16 beat | Open Triangle | |
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Generally speaking, lower frequency pulse trains dominate all coincident pulses belonging to higher frequency pulse trains. Consider, for example, the way the thump of a bass drum or slap of a bass guitar can momentarily overshadow other voices.
The following graph helps illustrate this concept of dominance. At any given time, only the largest pulse depth is represented.
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If the smallest feature represents one sixteenth note (half of an eighth note), then the largest feature corresponds to a whole note and the entire graph represents four measures of music in