KARLHEINZ STOCKHAUSEN: KLAVIERSTCK VII {CODA}

PITCHES: The tone-series [A\ = 5, G\ = 2, D# = 3, G# = 4, F\ = 1] is repeatedly rearranged by the permutation = (1, 5, 2, 3, 4).

DURATIONS: Five durations parade, in turn, all five elements of the cyclic group <> whose defining permutation = (1, 2, 3, 4, 5)
operates upon the codas initial rhythm R = 0 = [4, 2, 5, 3, 1]; NB: 1 = demisemiquaver, 2 = semiquaver, etc.

DYNAMICS: If we denote ppp = 1, pp = 2, p = 3, mp = 4 and mf = 5, then this musics dynamic indications unfurl here four of the five
elements of yet another cyclic group, <>, where the permutation = (1, 2, 5, 4, 3) re-orders a dynamics-series S = 0 = [1, 4, 2, 3, 5].

In summary, therefore, Stockhausen concludes his Klavierstck VII with the permutational members of three different cyclic groups
<>, <>, and <> that independently shuffle pitches, durations and dynamic levels, respectively.

PITCHES DURATIONS DYNAMICS

0 = [5, 2, 3, 4, 1] 0 = [4, 2, 5, 3, 1] 0 = [1, 4, 2, 3, 5]

1 = [2, 3, 4, 1, 5] 1 = [5, 3, 1, 4, 2] 1 = [2, 3, 5, 1, 4]
2 = [3, 4, 1, 5, 2] 2 = [1, 4, 2, 5, 3] 2 = [5, 1, 4, 2, 3]
3 = [4, 1, 5, 2, 3] 3 = [2, 5, 3, 1, 4] 3 = [4, 2, 3, 5, 1]
4 = [1, 5, 2, 3, 4,] 4 = [3, 1, 4, 2, 5] 4 = [3, 5, 1, 4, 2] not employed

= (1, 5, 2, 3, 4) = (1, 2, 3, 4, 5) = (1, 2, 5, 4, 3)

Concerning this works grid of serial processes, Decarsin avers (ibid., pp.1921) that ... the coda of Klavierstck VII (1954) constitutes a
perfect example of this new way of writing: five pitches, five intensities, and five durations are distributed in five articulated groups,
with each note in a register of its own ... the ear simultaneously grasps the immutability of the envelope and all the permutations which
occupy it. The isolated sounds, compared at that time to stars (the image is from the critic Herbert Eimert), move about according to
combinatorial rules which are simultaneously playful [yet] rigorous.