2. Broken Octaves with Embellishments

This Beethoven excerpt can pragmatically be split into two sections: the ascending scale paired with the embellished A in the bass, and the broken embellished octaves in the treble starting in the fifth measure. The repetition of melody with its altered tessitura is another notable feature.

In reference to the embellished A (1), it has been lifted an octave to eliminate the two-octave gap in the middle register, and to achieve a better balance between the octave melody and the ascending bass part. With the piano dynamic, the pizzicato bass will provide sufficient support to the arco cellos.

At point (2), the grace note signifies the necessity for a sustained octave for the final four measures. The broken embellished octaves, commencing at (3) in the split violin parts, set a pattern for this figuration. The second violin part maintains the broken-octave effect here. Yet, if stronger dynamics are used, it would be prudent to repeat the figure literally in the lower octave.

At (4), the last three notes of the viola part have been raised an octave because the low B is not playable, and maintaining the original tessitura of these three notes would lead to an undesirable spacing issue in the middle register.