Trios, quartets etc.

All that has been said regarding the relationship of voices in duet applies with equal force to the combination of three, four, five or more voices. An ensemble of several voices is seldom purely polyphonic; as a rule, although some parts move polyphonically, progression in thirds, sixths, tenths and thirteenths is used for the remainder. Declamation for some voices on notes forming the harmony is also possible. This variety of simultaneous movement of vocal parts renders the comprehension of the total effect less difficult for the ear, and sanctions the distribution of distinctive and suitable figures or tone colouring to certain voices with other figures or timbres which may be proceeding at the same time. The skilful arrangement of pauses and re-entries facilitates the understanding of the whole, and gives desirable prominence to detail.

Examples:

Snegourotchka 267—Trio, Finale to Act III.

The Tsar's Bride 116-118—Quartet in Act II.

""" 168-171—Sextet in Act III (cf. extract, [Ex. 283]).

Servilia 149-152—Quintet in Act III.

The movement of solo voices is seldom purely harmonic in character with predominance given to the upper voices homophonically treated. The blending of all the parts into an harmonic whole, without any distinctive predominant feature in any one part (as in a chorale) is employed for songs or ensembles in traditional style, prayers, hymns, etc. If this method is adopted for the quartet of voices,

it will be noted that widely-spaced part writing is the most natural and suitable form (especially in forte passages), as the four voices can sing together in their proper registers (low, middle and high), while, in close part writing they may find themselves at a given moment in registers, which are entirely foreign. But both methods should be employed, as, otherwise, it would be impossible to guarantee equality in even the shortest succession of chords.

Examples:

Snegourotchka 178 Hymn of Tsar Berendey's subjects.

[No. 305.] Legend of Kitesh 341.

The second half of the last example is an instance of six-part harmonic writing; the upper voice stands out prominently, the rest form a kind of accompaniment.