[continued]
Section 5 is a juxtaposition of verticalized sonorities from Textures II and III with linear movements from the same textures (on parade drum/tenor drum and tarole/snare drum). The interlocking chords in rhythmic unison can be identified by the accents and registral changes that create a two-against-three cross-rhythm.
This return is marked by an all-metal sonority (except for the sirens). The bass-drum part is now replaced by a rhythmically much-elaborated part for anvils, which appear in the score for the first time.
The prominent presence of anvils and the greater emphasis of the “gong” sonority (including sirens) create a markedly different overall texture from that of the other linear elaborations section (Section 4). Fundamentally, Section 7 is an interplay between the metal sonority and variants of Texture III in juxtaposition with Texture II.
The three measures beginning at measure 69 are a brief culmination of the simultaneous elaboration of all textures initially presented at measure 23. The linear combination of bongos and bass drums clearly emphasizes a close relationship already noted.
This section is much in the nature of a summation as well as a coda, consisting of sonorities of all three textures. It begins with the all-metal sonority of Texture I, much amplified by the appearance of piano, chimes, and glockenspiel (all used as if they were instruments of indefinite pitch) as well as a deep tam-tam. While the overall texture is climactic, a sense of conclusion is heightened by the fragmentation of the parade-drum rhythm and by the repeated appearance of the cadential figure on wood blocks.