The author presents his compositional method using sound criteria and visual representations of them. He begins with two questions: Can cadential processes present in the structure of traditional music be fulfilling in electroacoustic music? Can these processes be considered as universal traits translatable into features different from systematic tension/resolution? Sound unities can be analysed and represented through different criteria: amplitude, spectrum, brightness, density, granularity, pitch and register. Each criterion can be associated to aid in constituting micro-structures.