Progression in octaves.
The most beautiful and natural combinations are sopranos and
tenors [ILLUSTRATION]8 [Sopr./Ten., altos and basses 8 [Altos/Basses;
they produce a tone both
brilliant and powerful. Progression of sopranos and altos or tenors
and basses is seldom practiced. Though the latter combinations
may occur in choruses for women and men alone, they can only
be used in melodies of restricted length. The difference of register
in which the voices move does not permit of the same
balance of tone obtained by voices of a distinctive kind.
Examples:
- Snegourotchka 60, 61 — Carnival Procession.
- " 113 — Wedding Ceremony.
- Sadko 37 — Chorus of Guests, 1st Tableau.
Dividing kindred voices in octaves is seldom done, [ILLUSTRATION]8 [Sopr. I/Sopr II etc.,
except perhaps in the basses [ILLUSTRATION]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 [ILLUSTRATION]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: [ILLUSTRATION]8 [Sopr./Altos ]3/Ten./Basses] 3
Examples:
- Mlada, Act I 24; Act II, before 31
- The Golden Cockerel 235.
On the rare occasions when the whole chorus progresses in
double octaves the usual arrangement is:
Examples:
- Snegourotchka 319.
- Sadko 182.
