Boulez then eliminates any duplicate pitches, which in this case would leave us with the set 11 10 7 8 2 1. In fact, this is the set of notes we get in measure three of movement III, "L'Artisanat furieux." This movement, scored only for flute and voice, lays out pitch multiplication in a more straightforward way than movements I and VII. For the first 11 measures, Boulez (mostly) sticks to one pitch multiplication set per measure. Later, Boulez begins to use multiple pitch fields at a time, further complicating the analysis. Koblyakov's analysis reveals that the harmonic fields Boulez employs at certain parts of the piece are laid out very systematically, showing that the movements' overall forms are complexly mathematical as well .