Unfortunately I wasn’t able to find a score for this piece, which makes it really difficult for me to find a structure-especially because the piece is mainly dissonant.
Beyer divided this short piece into 3 parts, building a A-B-A’ – form. Within the first 15 seconds one can hear 2 voices playing. Starting in forte and ending quietly they don’t seem to meet at one harmonic interval at all. In the second part, after a short rest, seems a bit calmer than the first section at the beginning but becomes slightly louder towards the end. Beyer seems, at least for the beginning of this part, to be working with three voices. She also uses a few consonant intervals. Within the second half of this part is a section, which involves alternated high and low notes. This is the only part of the piece where only one voice at a time can be heard. The third part of the piece starts and sounds similar to the first one and is probably a variation of it.
As far as I’ve understood it, all the rules of a normal counterpoint are being turned around for a dissonant counterpoint, which means that dissonant intervals are primarily being used. As well as with Schönbergs 12-tone-technique I think this technique is a fascinating mathematical rather than musical subject, which makes an analysis interesting, but it is difficult to enjoy listening to it due to the amount of dissonances.