Start by using the following sets of frequency ranges to create a number of distinct yet harmonically related
30 - 50 Hz range as one set of frequencies
65 - 90 Hz as a 2nd set
100 - 220 - and above as a 3rd
250 - as high as you can feel like a 4th
So if you are writing in Em
The low E at 41 is your sub-bass ( A sine wave is best for this)
A kick drum tuned to E at the next octave up at 82 odd hertz will be well separated but harmonically related when resonances collide
Snare at the related note of G 196Hz will give distinct chest thump and will be harmonically sympathetic.
Anything above the E at 329 Hz or higher will be less powerful but a defined texture that won't clash.
If you use the as a starting point you'll get an idea of how you can write melodies that weave in and out of these territories and still stay distinct. In effect, you're writing tactile counterpoint.
By all means, explore the possibilities of harmonically unrelated tactile effects too. All the physical elements of sound are available for your tactile composition and can be used to enhance the feeling and emotion you are trying to convey.