" 281-285—Chorus of Flowers (cf. [Ex. 26]).
In fugato writing, and fugal imitation in three parts, allotted to a chorus composed of voices of one kind, the principal subject is given to two parts, the counter subject to one; by this method the doubled themes will stand out to better advantage.
Examples:
Sadko 20-21.
* The Tsar's Bride 29-30.
Male and female choruses, apart from the part they play as individual unities, may be introduced as separate groups in mixed choruses alternating with the whole ensemble.
Example:
Snegourotchka 198—Hymn of Tsar Berendey's Subjects (cf. [Ex. 166]).
As a general rule a female chorus does not contain the real harmonic bass part when this part is situated in the low register, so that no octaves are formed between the real bass and the lower choral voice. Harmony in a chorus for women is generally given to the three upper parts, the lower part acting as accompanying bass. It will be noticed that this rule may lead to the employment of chords of the sixth and empty consecutive fourth's and fifth's which should be avoided. In example [No. 311] (Sadko 270), this is remedied by the high position of the bass part; later an empty interval (4/5) occurs, but only for a moment, and still further on another such interval is avoided by the union of all the voices in the octave (B/B). In [Ex. No. 304] (Sadko 83) the harmonic bass in the low register is carefully omitted, but when transferred to the upper register it is doubled.
I conclude the present chapter with the following necessary observations: