The broken chords in this example have two distinct points of interest. First, there is the necessity of establishing the continuous sixteenth-note motion for the first three measures. The second concerns the two contrasting melodic lines which can be extracted from the first and last notes (lows and highs) of the progression.
The given forte dynamic suggests tutti scoring with a maximum of sonority. The implied melodic lines in the treble and bass are spaced so that the double rhythmic parts in the second violins and violas can function freely. This scoring plan has cohesion within a prescribed range spread.
Although this example is concerned chiefly with broken chords spaced for two hands, it is also a good illustration of quasi-contrapuntal entrances (1) as well as of troublesome distributions of melodic and harmonic elements as found in the piano original (2). The entrances at (1) have been arranged to give an antiphonal effect, with the violin parts of the last four measures covering the range of the full melodic fine (2). The close-position chords in the bass (3) have been opened to supply harmonic balance for the revised treble parts. In general, it should be established that numerous broken-chord progressions in this classification will not always be adaptable to string transcription, for pianistic music, at its best, is least practicable when transcribed for orchestra.