@Jean Szulc I'm posting in order to share, as well as to get feedback.
For all of the compositions I've so far posted in this thread, I've been using a certain method--one that closely mimics the human auditory system--to determine the overall pitch of each harmony. What I end up doing when writing out a harmony is setting down a selection of notes close to being within the desired pitch's harmonic series and then adjusting the loudness of these notes to get the exact pitch I want. I'm not so sure this is the best method for writing harmonies, though. For one thing, it's very difficult to avoid having the voices frequently drop out, due to the strictures it places on voice-leading and note choice. For another thing, no one or almost no one has ever used this method before, and yet there is a great deal of wonderful music that has been composed by numerous artists. If the underlying pitch of every harmony is really at the forefront of what we hear, then I would expect almost all music to sound extremely jumpy in terms of melodic motion. In two-voice counterpoint, for example, it is advised that the major sixth should expand outward to an octave at a final cadence and, sure enough, this motion often produces an acceptable effect. But if you look at the underlying pitches, you'll find that there is a huge leap that occurs. So I'm really not sure what to do in order to achieve harmonic clarity. Nothing I've tried--and I have tried a lot of things--has given me exactly the kind of musical texture that I'm going for.
Here's something I composed last night, using a much more traditional approach:
It sounds richer than anything I posted before it in this thread, but also less clear.