This two-part succession of broken chords for two hands is included in this discussion in an effort to show various ways of adaptation not casually obvious. It presents a challenge to the idea of "making something out of nothing" in a structural sense. These two parts in contrary motion clearly indicate an implied melodic line and harmonic progression. It may therefore be rearranged from either of these points of view depending upon its place in a full context.
The rhythmic second-violin part in Example S-15b acts as a central pivot for the literal first violin and viola parts. The inclusion of the cello is for further sustained unity, and its use would be optional, depending upon the full context of the passage. In Example S-15c, the two outside parts outline the implied melodic design while the inside parts remain unchanged from the original version.
When this type of transcription is desired, the two parts may be assigned to any instruments capable of playing them in their entirety and without unnecessary range difficulties. There is a unique example of this style of two-part writing in the middle of the Adagio section of SaintSaens' Symphony No. 3. Here, the composer establishes a dialogue of two-part counterpoint similar to the Mozart excerpt previously discussed, which subsequently serves as a background on which the principal melodic material is superimposed.
These illustrations effectively demonstrate the premise that there may be several ways of orchestrating a given phrase or passage, each quite different from the other, but each quite possibly correct. The final choice must, as always, be governed by the appropriateness of the scoring within a specific musical context.