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,
- Sopr.
- Alto
- Ten.
- Bass,
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.
Chorus.
Range and register.
The range of choral voices is slightly more limited than that of soloists. The exceptional register may be considered as two notes above and below the normal octave. The dotted lines extended still further indicate the limits upon which a composer may rely in very exceptional cases, as every full chorus must contain a few voices of more than average compass, in this respect approaching the solo voice in character. In many choruses one or two bass singers may be found who are able to go still lower than the limit of the exceptional range (they are called octavists).[19]