Lachenmanns understanding of 'kadenzklang' is wide. We narrowed this category down to very short events; attack sounds or reverse attack sounds. We encouraged: "Be inventive, try to continously discover new types of sound." I did some times edit and superpose sounds to make the attack events more dense.
In counterpoint and harmony we have principles to avoid parallel fifths and octaves (the rules were much softer in the Ars Nova era), and be aware of the possibility of countermovements. When creating multidimensional sound events if could be equally useful to avoid moving in parallel on all parameters. A possible contradiction would be ascending pitch and decreasing loudness.