Repeated intervals and chords are generally avoided in piano music, being unidiomatic and unpianistic. The composer of piano music approximates the effect of repetition by means of broken or arpeggiated intervals or chords. It is a technical expedient playable at most dynamic levels and tempos. However, as repetitions of notes and intervals present no difficulties for the string player, most broken intervals can be efficiently transcribed as repeated intervals without losing their identity.
1. Broken Octaves
a. Bass register
Example S-l
The broken octaves in this example have been arranged to offer some contrast between the starting piano and the following crescendo measures and may serve as a model for all subsequent intervals in this category. The bass part at (2) emphasizes the pulse of the repeated C's in the cello part while the added quarter notes, starting in the fifth measure, give greater strength and vitality to the crescendo of the last measures. The omission of the viola part (1) points up the fact that instruments should not be used "just to fill in." Actually, this delayed entrance of the violas creates a new interest.
Attention should be given to the rearrangement of the directional lines of the second violin and viola parts at (3). This change compensates for the rising melodic line in the first violin part and the necessity of having the progression in open position (4). Close positions can be resumed as the bass part rises in contrary motion to the melodic line, with the inter- vals to be played as double stops (non-divisi).