Introduction to playing from score . ^& Ff=h=F=5c=tz=ir=tqtä=tzi:z:g:t-»iH-tzr:|= N^B fiiSii stacc. The beginning of the second part of the Trio (bars13—20) is to be treated in the same manner (the firstnote of the bar in the first violin part is left out conti-nually). In bars 22—27 the sighing figures of the firstviolin coming in as a kind of imitation, rather collidewith the cello-melody; it is, however, better to play themas they stand, and, at the very most, transpose them up-wards in bars 26 — 27. 62. i \ ?^t tr I ^ .nj i rU I If- r T SIMPLE FORMS OF ARRANGEMENT. 63 The transformation of

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Introduction to playing from score . ^& Ff=h=F=5c=tz=ir=tqtä=tzi:z:g:t-»iH-tzr:|= N^B fiiSii stacc. The beginning of the second part of the Trio (bars13—20) is to be treated in the same manner (the firstnote of the bar in the first violin part is left out conti-nually). In bars 22—27 the sighing figures of the firstviolin coming in as a kind of imitation, rather collidewith the cello-melody; it is, however, better to play themas they stand, and, at the very most, transpose them up-wards in bars 26 — 27. 62. i \ ?^t tr I ^ .nj i rU I If- r T SIMPLE FORMS OF ARRANGEMENT. 63 The transformation of bars 31—34, in which the firstvioHn colHdes similarly with the accompanying figure ofthe viola, is a question of greater difficulty. In this casethe best plan to adopt is to leave the first violin part inthe original position, unless the player prefers to ignoreit in the first two bars d=i=^i=::j=i ±\JL :t:=z=izir ?-i=-t- I The filling tones of the second violin should, as amatter of course, be introduced in the concluding passa-ges by means of octave-doubling of the melody: in theturn, however, this octave-doubling should be omitted. 64. I p:^- ? t I i^ I

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Keywords: ., bookauthorriemannh, bookcentury1900, bookdecade1900, bookyear1904