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]).

Sadko 341—Final chorus.

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: