When looking back, I felt that the idea of using mirror harmony might be throwing in too many concepts into the pot for representing the ocean. So for the rest of the sea-like chords, I chose to structure similarly through spectral analysis. However, unlike the ‘whalesong chords’, I instead analyzed some of Yuan Mei’s ‘sea creature’ sound effects. This gave more coherence to the sound world, and would ultimately lead to a philosophical realization that I felt important to acknowledge in a collaborative sound art instillation*, particularly ones that involve collaboration between composers and sound designers.
Here are the new sea creature chords. 
*being used broadly to mean any art instillation involving sound.
