2. Left Hand Broken Chords in Open Positions

The use of the damper pedal is significant in planning the scoring of this excerpt, for it indicates the need of a maximum string sonority. The descending chromatic line (2) with the continued E combines with the divided cellos (3) to complete the chord structure, the pizz. bass (4) giving the rhythmic pulsation which can be sustained slightly by means of vibrato. Transcription of the treble parts is literal (1). Enharmonics (viola part — fourth measure) are often a desirable device for promoting better intonation with most string players, especially when Cb and Fb are involved.

Another setting of chords in this classification (Example S-12) is given to show the addition of a second rhythmic part (1) which includes the outlining bass notes so essential to the stability of the harmonic progressions. The ranges and tonal strength of the melodic treble justify this addition.

Further application of the principles used in the two previous examples may be applied to this progression by Brahms. This figuration, broken into two parts, has the thirds continuously in the violas, while the cellos and bass combine to clarify the bass part. Note: The D at (1) is possible only on a five-string bass.