Progression in octaves.
The most beautiful and natural combinations are sopranos and tenors
| 8 | [ | Sopr. |
| Ten., |
altos and basses
| 8 | [ | Altos |
| Basses; |
they produce a tone both brilliant and powerful. Progression of sopranos and altos, or tenors and basses is seldom practised. Though the latter combinations may occur in choruses for women and men alone, they can only be used in melodies of restricted length. The difference of register in which the voices move does not permit of the same balance of tone obtained by voices of a distinctive kind.
Examples:
Snegourotchka 60, 61—Carnival Procession.
" 113—Wedding Ceremony.
Sadko 37—Chorus of Guests, 1st Tableau.
Dividing kindred voices in octaves is seldom done,
| 8 | [ | Sopr. I |
| Sopr. II |
etc., except perhaps in the basses
| 8 | [ | Basses I |
| Basses II, |
when the progression of parts demand it, or it is required to double the bass part in octaves.
Examples:
Ivan the Terrible, Act III 68—Final chorus (cf. [Ex. 312]).
A beautifully round tone results from doubling men's and women's voices in octaves
| 8 | [ | Sopr. + Altos |
| Ten. + Basses. |
Example:
Snegourotchka 323—Final chorus.
Brilliance and vigour is achieved when sopranos and altos progress in thirds doubled in octaves by tenors and basses also in thirds:
| 8 | [ | Sopr. | ] | 3 |
| Altos | ||||
| Ten. | ] | 3. | ||
| Basses |
Examples:
Mlada, Act I 24; Act II, before 31.
The Golden Cockerel 235.
On the rare occasions when the whole chorus progresses in double octaves the usual arrangement is:
| Sopr. | + | Altos | ] | 8, | or else | 8 | [ | Sopr. | |||||
| 8 | [ | Ten. | Altos | + | Ten. | ] | 8. | ||||||
| Basses | Basses | ||||||||||||
Examples:
Snegourotchka 319.
Sadko 182.
Voices (divisi); harmonic use of the mixed chorus.
The purely harmonic progression of a four-part mixed chorus is more natural and resonant when the harmony is of the widely divided order, so that the volume of tone is equally distributed throughout.
Example:
[No. 307.] Sadko 144—Beginning of 3rd tableau.
To secure a well-balanced forte chord in close part writing the following distribution is recommended:
| [ | Sopr. I |
| Sopr. II | |
| Altos | |
| [ | Ten. I |
| Ten. II | |
| [ | Basses I |
| Basses II. |
Three harmonic parts in the high register (2 sopranos and altos) are doubled an octave lower by 2 tenors and the 1st basses. The lower part is undertaken by the 2nd basses. In this manner the tenors sing in the soprano octave, the 1st basses in the alto octave and the 2nd basses are independent.
Examples:
Snegourotchka 327—End of the work.
Mlada, Act II 20—Procession of Princes.
Ivan the Terrible, Act II 19 (cf. [Ex. 212]).
Division of parts can be adopted when one of them is entrusted with a melody, the remainder forming a sufficiently full accompaniment. The choice of parts to be divided depends upon the range of the upper one. When a harmonic-melodic phrase is repeated in different keys and registers, it may be necessary to distribute the parts and divide them in another manner, so as to maintain proper choral balance. As an illustration I give two extracts of identical musical context, the second (F major) being a third higher than the first (D major). In the first example the altos are added to the sopranos to strengthen the melody; the tenors and basses divisi form the harmony. In the second example the melody being a third higher may be given to the sopranos alone; the altos therefore take part in the harmony, and consequently the lower parts are divided in a different way.
Examples:
Sadko 173 and 177 (cf. [Ex. 205] and [206]); compare also the same music in G major 189.
[No. 309]-[310]. Ivan the Terrible, Act I 77.
[Example 307] is an instance of widely-spaced four-part writing forming the harmonic basis, with the melodic idea in the orchestra. In [Example 308], the same in musical context, the melodic figure is given to the sopranos, and among the other parts which form the harmony the tenors are divided.
Example:
[No. 308.] Sadko 152.
In polyphonic writing exceeding 4 part harmony the voices should be divided so as to obtain the necessary number of actual parts. One part may be divided into as many as three different parts, 3 sopranos, 3 altos etc.
Examples:
[No. 312.] Ivan the Terrible, Act III 69—Final chorus.
Servilia 233—Final chorus.
Mlada, Act IV 35-36—Final chorus.
In fugato writing and fugal imitation for mixed chorus the distribution is generally in four parts, but this number may be increased for cumulative effects as in the example quoted. In such cases the composer should be careful as to the arrangement of the final chord, the summit and climax of the passage. After the entry of the last of the voices the progression of such a passage should be handled with a view to the tone of the final chord. The treatment should be such that concords produced by divided voices or different groups of voices retain their full value; and if the final chord be a discord its effect may be heightened by means of crossing of parts. The reader is advised to examine carefully the progression of parts leading up to the final chord in each of the examples given above, paying special attention to the distribution of these final chords. Crossing of parts must not be effected at random. The arrangement of choral parts follows the natural order of register and can only be altered for short spaces of time to give momentary prominence to some melodic or declamatory phrase.
Examples:
Ivan the Terrible, Act I 79, Act II 5, Act III 67.