Instead of attacking the notes of the chord simultaneously, play them from the bottom upwards, holding each as struck. (Occasionally in early mus. the notes are to be played from the top downwards and the question as to which is intended is sometimes a difficult one.)
Sometimes the wavy line is not continuous between the two staves, and then it is to be understood that the composer intends the arpeggio effect to go on in the two hands simultaneously.
It is to be noted that all spread chords should be so played as not to destroy the rhythm of the passage.
(‘Arpeggriated’, i.e. harp-fashion)