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.