1. Left-hand Broken Chords in Close Position

This excerpt continues the study of close-position chords but with a different rhythmic pattern and a changed melodic problem in the treble. The octave melody is continued in the first violins at (1). Fifths of triads serve well as starting and sustaining notes for common tones in chord progressions (second violins). The triplet figure in the viola part (3) derives from the top notes of the original piano triplet. Rearranged figurations of this kind should consist of the smallest possible intervals, always moving toward the nearest positions of succeeding chord tones. The cello bowing at (2) is recommended for extracted bass parts with similar notation. The bass (4) defines the rhythmic pulse of each measure. Triplet notations, as used here, should not be transcribed as in Fig. S-2 except in slow tempos.