The chorus, possessing much greater unity and power than the solo voice, does not demand such careful handling in the accompaniment. On the contrary, too great a refinement of orchestral treatment will prove harmful to the resonance of the chorus. As a general rule orchestration of choral works follows the rules laid down for purely instrumental scoring. It is obvious that dynamic marks of expression must correspond in both bodies, but doubling one orchestral group with another and coupling instruments of the same kind in unison (2 Ob., 2 Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if performed according to the requirements of the musical context. Doubling choral parts by instruments is generally a good plan. In cantabile passages such duplication may be melodic in character, and the design more ornamental in the orchestra than in the chorus.
Examples:
Ivan the Terrible, Act II 3-6; Act III 66-69.
The May Night, Act I X-Y; Act III L-Ee, Ddd-Fff.
Snegourotchka 61-73, 147-153, 323-328.
Mlada, Act II 22-31, 45-63; Act IV 31-36.
The Christmas Night 59-61, 115-123.
Sadko 37-39, 50-53, 79-86, 173, 177, 187, 189, 218-221, 233, 270-273.
The Tsar's Bride 29-30, 40-42, 50-59, 141.
Tsar Saltan 67-71, 91-93, 133-145, 207-208.