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the other playing a single note Hne one or more octaves above or below; one
hand in octaves while the other hand plays something completely different;
both hands striking simultaneously in octaves; hands altemating back and
forth in octaves; hands altemating back and forth with one hand in octaves
and the other on single notes; one or both hands in octaves along with other
chordal tones filled in; partial octave runs in which octaves altemate with
single notes within the same hand.
Octaves appear frequently in the early works; Petrouchka contains
mainly different types of octave writing, as does Le Chant du Rossignol and
the revised Suite L'Oiseau de feu of 1919; Figures 1 and 15 contain good
examples of octave passages. Chordal octaves, in which one or both hands
must play an octave along with one or more chord tones within, occurred
infrequently in Petrouchka, and are more prevalent in the middle period works,
especially the Concerto for Piano and Winds and the Capriccio for Piano and
Orchestra. Partial octaves, already discussed at length, also appear, beginning
with the Concerto for Piano and Winds and culminating in the Symphony in
Three Movements. The use of octaves disappears after the latter work, except
for the anomalous Canon for Concert Introduction or Encore, as Stravinsky
began his compositions in serial style.

Pianistic Effects
Besides octaves, which Stravinsky viewed as being so pianistic, he also
made great use of other pianistic effects such as glissandi, arpeggios, tremolos,
passages which altemate between the hands, and passages which remain on
the white or black keys. Glissandi appear frequently in each of the early
works; appearances in the middle period works are mainly limited to
orchestrations of earHer pieces such as the Suite No. 2 and the Quatre Etudes,
although they reappear in the early 1930s in Symphony of Psalms, Persephone,
and Scherzo a la Russe. Two occurrences of glissandi in Symphony in Three
Movements of 1945 would become the last time he used this effect. There are