| Ten. I Ten. II Bass | or | Ten. Bass I Bass II. |
The choice of distribution depends upon which voice is to predominate, or the register in which the group is to be placed. The manner of dividing the parts may change, one following the other at will. In four-part harmonic writing the method of division is self-evident:
| Sopr. I Sopr. II Altos I Altos II | Ten. I Ten. II Bass I Bass II |
To give prominence to a melody in the middle part in three-part harmony, the following method may be adopted:
| Sopr. I Sopr. II + Altos I, Altos II | or | Ten. I Ten. II + Bass I. Bass II |
If, in three-part writing, the melody has to stand out in the upper part, the harmony may be either widely-divided or close.
Examples:
Ivan the Terrible, Act I 25-26, 23-31 (Women's chorus).
Sadko, before 181—Men's chorus (cf. [Ex. 27]).
[No. 311.] Sadko 270-272—Women's chorus.