University of Virginia Library

Chapter VI (Supplementary).
VOICES.

Technical Terms.

Among all the confused terms employed in singing to denote
the compass, register and character of the human voice, there are
four which may be said to represent elemental types: soprano,
alto or contralto, tenor and bass. These names are used to denote
the composition of the chorus with sub-divisions of firsts and
seconds, to determine how the parts must be divided. (Sopr. I,
Sopr. II etc.) While the range of an instrument is exactly governed
by its construction, the compass of the voice, on the other hand,
depends on the individuality of the singer. It is therefore impossible
to define the exact limits of each of these vocal types.
When it is a question of dividing choristers into 1st and 2nd parts,
those with the higher voices are classed among the firsts and
vice versa.

Besides the principal terms mentioned above, the names mezzo-soprano
(between sop. and alto), and baritone (between tenor and
bass) are also employed.

Note. In the chorus mezzo-sopranos are classed with 2nd sopranos
or 1st altos, baritones with 2nd tenors or first basses, according to quality and
timbre of voice.

Apart from these denominations which represent the six principal
solo voices, a quantity of others are in use to denote either
compass, timbre or technique, such as light soprano, soprano
giusto, lyric soprano, dramatic soprano, light tenor, tenorino-altino,
baryton-martin, lyric tenor, dramatic tenor, basso cantante ("singing
bass"), basso profondo (deep bass) etc. To this lengthy list must

be added the term mezzo-carattere, of intermediate character
(between lyric and dramatic soprano, for example).

If we try to discover the real meaning of these designations it
soon becomes apparent that they are derived from widely different
sources-for instance, "light soprano" implies agility and mobility
in the voice; "dramatic tenor", the power to express strong dramatic
feeling; basso profondo signifies great resonance in the
deep register.

Minute examination of all the methods of attack and emission
of sound lies within the province of the singing master and to
enumerate them here would only perplex the student. The same
applies to the position and exact limits of register (chest voice,
middle and head voice in women; chest voice, mixed voice and
falsetto in men). The work of a teacher of singing consists in
equalising the voice throughout its whole compass, so that the
transition from one register to another, on all the vowels, may be
accomplished imperceptibly. Some voices are naturally even and
flexible. The professor of singing must correct faults in breathing,
determine the range of the voice and place it, equalise its tone,
increase its flexibility, instruct as to the pronunciation of vowels,
modulation from one grade of expression to another, etc. A composer
should be able to rely upon flexible and equal voices
without having to trouble himself as to the abilities or defects of
individual singers. In these days a part is seldom written for a
particular artist, and composers and librettists do not find it necessary
to entrust a certain rôle to fioriture singers, another to
heavy dramatic voices. Poetic and artistic considerations demand
greater variety of resource in the study of opera or vocal music
in general.

Soloists.

Range and register.

I advise the composer to be guided by Table F. which gives
the approximate range of the six principal solo voices. A bracket
under the notes defines the normal octave, the register in which
the voice is generally used. Within these limits the composer
may write freely without fear of hardening or tiring the voice.

The normal octave applies also to declamatory singing and recitative;
the notes above it are exceptional and should be used for
the culminating points of a passage or for climaxes, the notes
below, for the fall or decline of a melody. Employing voices in
unusual registers for long periods of time will weary both singer
and listener, but these registers may occasionally be used for
brief intervals so as not to confine the voice too strictly to one
octave. A few examples are added to illustrate melody in different
types of voices.

Examples:

• The Tsar's Bride 102-109 (for extracts cf. Ex. 256, 280, 284) —
  Marfa's Aria (Soprano).
• " " 16-18 — Griaznov's Aria (Baritone).
• Snegourotchka — The 3 songs of Lell. (Contralto).
• Sadko 46-49 (cf. extract, Ex. 120) — Sadko's Aria (Tenor).
• " 129-131 — Lioubava's Aria (Mezzo-sopr.).
• " 191-193 (cf. extact, Ex. 131) — Bass Aria.

Vocalisation.

A good vocal melody should contain notes of at least three
different values, minims, crotchets and quavers (or crotchets,
quavers and semiquavers etc.). Monotony in rhythmic construction
is unsuited to vocal melody; it is applicable to instrumental music,
but only in certain cases. Cantabile melody requires a fair
number of long notes, and a change of syllable in a word should
occur at a moment when the voice quits a long sustained note.
Short, single notes, changing with every syllable produce a harmonious
effect. Owing to the requirements of diction, extended
melodic figures sung legato on one syllable must be used with
care on the part of the composer; to perform these the singer
must possess greater command over flexibility and technique.
The possibility of taking breath in the right place is one of the
conditions essential to all vocal writing. Breath cannot be taken
in the middle of a word, sometimes not even during the course
of a sentence or phrase in the text; hence the voice part must
be suitably interspersed with rests.

[ILLUSTRATION]

Table F. Voices.

Chorus:

Soloists:

Note. It must be remembered that there are some words upon which the
voice may not dwell, or sing more than one or two notes. These words may
be nouns, pronouns, numerals, prepositions, conjunctions and other parts of
speech. It would be impossible and ridiculous, for instance, to write a
sustained note on such words as "who", "he" etc. The voice may dwell on
certain words which, so to speak, possess some poetical colour [1].

Examples:

• No. 303. Sadko 236 — Sadko's Aria (Tenor).
• " 309-311(see extract, Ex. 81). Volkhova's Cradle
  Song (Soprano).
• Snegourotchka 9 — Fairy Spring's Aria (Mezzo-sopr.).
• " 187-188, 212-213 (see extracts, Ex. 102 and 225) — the two Cavatinas of Tsar Berendey (Tenor).
• " 247 — Miskir's Aria (Baritone).

Vowels.

As regards vocalisation on one syllable, on long sustained notes
and in the high register, the choice of vowels is a matter of some
importance. The difference in the position of the mouth and lips
in forming the open vowel a and the closed vowel ou is apparent
to everyone. The series of vowels from the point of view of open
sounds is: a, i, o, e, u. In women's voices the easiest vowel on
high notes is a, for men it is o. The vowel i softens the penetrating
quality of the top notes of a bass voice, and the vowel a
adds to the extension of range in the very lowest compass. Lengthy
florid passages are often written on the interjection ah, or simply

on the vowel a. Owing to the restrictions imposed by literary
and dramatic laws, the composer can only follow the above rules
to a limited extent.

Examples:

• Snegourotchka 293, 318-319 (cf. Ex. 119).
• No. 304. Sadko 83.

Flexibility.

Voices possess the greatest amount of flexibility in their normal
octave. Women's voices are more supple than men's, but in all
types, the higher voice is the more agile, sopranos in women, the
tenor voice in men. Although capable of performing florid and
complicated figures, different varieties of phrasing and the rapid
change from staccato to legato, the human voice is infinitely less
flexible than a musical instrument. In passages of any rapidity,
diatonic scales and arpeggios in thirds come easiest to the voice.
Intervals bigger than fourths in quick succession and chromatic
scales are extremely difficult. Skips of an octave or more starting
from a short note should always be avoided. Preparation should
precede any extremely high note either by leading up to it gradually,
or by the clear leap of a fourth, fifth or octave; but sometimes
the voice may attack a high note without any due preparation.

Examples:

• Snegourotchka 46-48 (cf. extract, Ex. 279) — Snegourotchka's
  Aria (Soprano).
• " 96-97 — Lell's first song (Contralto).
• Sadko 196-193 (cf. extract, Ex. 122) — Hindoo song (Tenor).
• " 203-206 — Venetian song (Baritone).
• Pan Voyevoda 20-26 — Maria's cradle song (Sopr).

Colour and character of voices.

The colouring of the voice, whether it be brilliant or dull, sombre
or sonorous depends upon the individual singer, and the composer
has no need to consider it. The chief question is interpretation
and may be solved by the judicious choice of artists. From the

point of view of flexibility and expression voices may be divided
into two classes, lyric and dramatic. The latter is more powerful
and of greater range, the former possesses more suppleness and
elasticity and is more readily disposed to different shades of expression.
Granted that the rare combination of the two classes is
the composer's ideal, he should nevertheless be content to follow
the main artistic purpose which he has set out the achieve. In
complicated and important works the composer should bear in
mind the characteristics of the various voices he employs; moreover,
if he use two voices of the same calibre, e. g. 2 Sopranos
or 2 Tenors, he should discriminate between the range and register
of their respective parts, writing for one slightly higher than the
other. It is no rare occurrence to meet with voices of an intermediate
character (mezzo-carattere) combining the qualities of
each type to a modified extent. To such voices the composer
may assign rôles demanding the characteristics of each class,
especially secondary rôles. At the present day, besides the rôles
suitable to the dramatic and lyric type of voice, it is customary
to give prominence to those demanding some special qualifications,
voices of a certain tenderness or power, a specified range or degree
of flexibility — attributes decided by the artistic object in view. In
casting secondary and minor rôles the composer is advised to
employ a medium range and less exacting demands on technique.

Note. After Meyerbeer, who was the first to write for a special type of
heavy mezzo-soprano and baritone, Richard Wagner created a type of powerful
dramatic soprano, of extensive range, combining the quality and scope of the
soprano and mezzo-soprano voices; likewise a similar type of tenor, possessing
the attributes and compass of the tenor and baritone together. To demand
that voices shall be equally brilliant and resonant in the high and low register,
that singers shall be endowed with a super-powerful breathing apparatus and
an extraordinary faculty for resistance to fatigue (Siegfried, Parsifal, Tristan, Brünhilda, Kundry, Isolda), is to exact something little short of the miraculous.
Such voices are to be found, but there are some singers with excellent though
not phenomenal vocal powers, who, by the constant pursuit of Wagnerian parts
endeavour to increase their range and volume, and only succeed in depriving
the voice of correct intonation, beauty of tone, and all subtlety of nuances.
I believe that less exacting demands and greater perception of what is required,
skillful and judicious use of the high and low registers of the voice, a
proper understanding of cantabile writing combined with orchestration which
never overpowers the vocal part will be of greater service to the composer,
from an artistic point of view, than the more elaborate methods of Richard
Wagner.

Voices in combination.

Treating solo voices in a polyphonico-harmonic manner is the
best method of preserving their individual character in ensembles.
A distribution which is wholly harmonic or entirely polyphonic is
seldom found. The first plan, largely used in choral writing,
simplifies the movement of the voices too greatly, eliminating their
melodic character; the second method is wearisome and somewhat
disturbing to the ear.

As a general rule the voices are arranged according to the law
of normal register. Crossing of parts is rare and should only be
done with the intention of emphasising the melody in the ascending
voices above those adjacent in register, e. g. the tenor part above
contralto, the mezzo-soprano above the soprano, etc.

Duet.

The combinations most conducive to the proper movement of parts
are those of two voices related within an octave [ILLUSTRATION]

8 [Sopr./Ten., M-Sopr./Bar., C.-alto/Bass.

Movement in tenths, sixths, thirds or octaves (the last very seldom)
will always produce satisfactory ensemble, and if the parts progress
polyphonically, it need not happen frequently that they are
separated by more than a tenth, or that undesirable crossing of
parts will result.

Examples:

• Sadko 99-101 — Sopr. and Tenor (cf. Ex. 289, 290).
• Servilia 143 — Sopr. and Tenor.
• Ivan the Terrible, Act I 48-50 — Sopr. and Tenor.
• Kashtcheï the Immortal 62-64. Mezzo-sopr. and Baritone.

Voices related in fifths and fourths, [ILLUSTRATION]

5 [Sopr./C.-alto, 4 [C.-alto/Ten., 5 [Ten./Bass.

should progress nearer to one another; it is rare for them to move
in tenths, common in sixths and thirds; they may also proceed in
unison. The two voices are seldom separated at a greater distance
than an octave, and certain cases will require crossing of parts,
which, however, should only be for periods of short duration.

Examples:

• Snegourotchka 263-264 — Soprano and Alto.
• * The Christmas Night 78-80 — Alto and Tenor.
• * Legend of Kitesh 338 — Tenor and Bass.

Voices related in thirds;
[ILLUSTRATION]

3 [Sopr./M.-sopr., M.-sopr./C.-alto, Ten./Bass, Bar./Bass

may move in unison, in thirds and sixths, and admit very largely
of the crossing of parts. Separation by more than an octave must
only be momentary, and is generally to be avoided.

Examples:

• * The Tsar's Bride 174 — Sopr. and Mezzo-sopr.
• * Tsar Saltan 5-6 — Sopr. and Mezzo-sopr.

In the case of voices related in twelfths: [ILLUSTRATION]

12 [Sopr./Bass

, intervals approaching
one another do not create a good effect, for this transplants the
deeper voice into the upper register and vice versa. Singing in
unison is no longer possible, and thirds are to be avoided; the
use of sixths, tenths and thirteenths is recommended. The voices
will often be separated by more than a twelfth and crossing of
parts is out of the question.

Example:

• * Tsar Saltan 264-255

Relationship in tenths [ILLUSTRATION]

10 [Sopr./Bar. or M.-sopr./Bass

is fairly common. The
explanations given above are also applicable in this case.

Example:

• Snegourotchka 291-300 (cf. extract, Ex. 118) Sopr. and Bar.

The use of similar voices in pairs: [ILLUSTRATION]

Sopr./Sopr., Ten./Ten.

entails singing in
unison and thirds. They should rarely be separated beyond a sixth,
but crossing of parts is inevitable, as otherwise the resultant volume
of tone would be too weak.

Note. Other possible combinations: [ILLUSTRATION]

C.-alto/Bar., M.-sopr./Ten.

, call for no special
remarks.

Examples:

• The May Night, Act I pp. 59-64 — Mezzo-sopr. and Tenor.
• *Sadko 322-324 — Mezzo-sopr. and Tenor.

As a general rule, writing for two voices is only successful when
the progression of parts is clear, when discords are prepared by
a common note, or are the outcome of conveniently separated
movement and correctly resolved. Empty intervals of fourths and
perfect fifths, elevenths and twelfths should be avoided on the strong
beats of a bar, especially on notes of some value. If, however,
one of the voices assumes a melodic character, the other forming
the harmonic accompaniment in declamatory style, it is not absolutely
necessary to avoid the intervals mentioned above.

Note. It is not within the scope of the present work to consider the writing
of vocal parts in closer detail. This question must be left to the professor
of free counterpoint. It remains to be noted that the human voice accompanied
by the orchestra is always heard independently as something apart,
something complete in itself. For this reason a composer may never rely
on the orchestra to fill up an empty space or correct a fault in the handling
of voices. All the rules of harmony and counterpoint, down to the last detail,
must be applied to vocal writing, which is never dependent upon orchestral
accompaniment.

Trios, quartets etc.

All that has been said regarding the relationship of voices in
duet applies with equal force to the combination of three, four,
five or more voices. An ensemble of several voices is seldom
purely polyphonic; as a rule, although some parts move polyphonically,
progression in thirds, sixths, tenths and thirteenths is used
for the remainder. Declamation for some voices on notes forming
the harmony is also possible. This variety of simultaneous movement
of vocal parts renders the comprehension of the total effect
less difficult for the ear, and sanctions the distribution of distinctive
and suitable figures or tone colouring to certain voices with other
figures or timbres which may be proceeding at the same time.
The skillful arrangement of pauses and re-entries facilitates
the understanding of the whole, and gives desirable prominence to detail.

Examples:

• Snegourotchka 267 — Trio, Finale to Act III.
• The Tsar's Bride 116-118 — Quartet in Act II.
• " " 168-171 — Sextet in Act III (cf. extract, Ex. 283).
• Servilia 149-152 — Quintet in Act III.

The movement of solo voices is seldom purely harmonic in
character with predominance given to the upper voices homophonically
treated. The blending of all the parts into an harmonic whole,
without any distinctive predominant feature in any one part (as in
a chorale) is employed for songs or ensembles in traditional style,
prayers, hymns, etc. If this method is adopted for the quartet
of voices, [ILLUSTRATION]

Sopr./Alto/Ten./Bass

, it will be noted that widely-spaced part writing
is the most natural and suitable form (especially in forte passages),
as the four voices can sing together in their proper registers
(low, middle and high), while, in close part writing they may find
themselves at a given moment in registers, which are entirely
foreign. But both methods should be employed, as, otherwise,
it would be impossible to guarantee equality in even the shortest
succession of chords.

Examples:

• Snegourotchka 178 Hymn of Tsar Berendey's subjects.
• No. 305. Legend of Kitesh 341.

The second half of the last example is an instance of six-part
harmonic writing; the upper voice stands out prominently, the rest
form a kind of accompaniment.

Chorus.

Range and register.

The range of choral voices is slightly more limited than that
of soloists. The exceptional register may be considered as two
notes above and below the normal octave. The dotted lines extended
still further indicate the limits upon which a composer may rely
in very exceptional cases, as every full chorus must contain a few

voices of more than average compass, in this respect approaching
the solo voice in character. In many choruses one or two bass
singers may be found who are able to go still lower than the
limit of the exceptional range (they are called octavists). [2]

Note. These uncommonly deep notes must be moderately well sustained and
can only be used when the whole chorus is singing quite piano; they are
hardly applicable except in unaccompanied choruses (a capella).

The difference in range between the "firsts" and "seconds" in
each type may be fixed as follows: the normal octave and the
exceptionally low register should be allotted to the "seconds", the
same octave and the exceptionally high register to the "firsts".

The composition of the chorus is approximately as follows: for
a full chorus, 32 singers to each of the 4 parts sopr., alt., ten. and
bass; for a chorus of medium size, from 16 to 20, and for a small
chorus from 8 to 10 singers. The number of women will often
predominate, and more voices are given to the "firsts" than to the
"seconds".

On account of stage requirements a chorus may have to be
divided into two or even three separate parts. This is a great
disadvantage, especially with a small chorus, as each chorister
becomes more or less a soloist.

The methods of writing for operatic chorus are very numerous.
Besides the primary harmonico-polyphonic arrangement, containing
the whole musical idea, the voices may be made to enter separately,
singing or declaiming phrases of varying length; they may progress
in unison or in octaves; one vocal part may repeat certain notes
or the whole chorus reiterate certain chords; one melodic part
may predominate (the upper part for preference), the others forming
an harmonic accompaniment; isolated exclamatory phrases
may be given to the whole chorus or to certain portions of it,
and finally, the entire chorus may be treated in a purely harmonic
manner in chords, with the essential melodic design allotted to
the orchestra. Having outlined the principal methods of handling
the chorus, I advise the reader to study vocal and orchestral scores
where he will find many illustrations impossible to deal with here.

There exists another most important operation, the division of
the chorus into different groups. The most natural method is to
divide it into men's chorus and women's chorus. Less frequent
combinations are altos, tenors and basses, or sopranos, altos and
tenors. There remains yet another point to be considered, the subdivision
of each part into two's and three's. Men's and women's
choruses, considered as distinct unities may alternate either one
with the other, or with the principal chorus. For this reason subdivision
increases the possibilities of choral writing, and, as I have
already remarked, it is only by the study of choral works that
the student will acquire mastery over this branch of composition,
the fundamental principles of which can only by faintly outlined
in the course of the present work.

>Melody.

Melody is more limited in the chorus than in the solo voice,
both as regards range as well as mobility. Choristers' voices are
less "settled" and not so highly trained as those of soloists.
Sometimes solo and choral melody are similar in point of range
and technique, but more often the latter is lacking in freedom and
variety of rhythm, restricted as it is to the repetition of short phrases,
while the solo voice demands broader melodic outline and greater
freedom in construction. In this respect choral melody more closely
resembles instrumental melody. Pauses for taking breath are not
so important with chorus singers as with soloists; the former do
not need to breathe all together and each singer may take a slight
rest from time to time, thus obviating the necessity for sudden
complete silences. The question of suitable vowels is likewise of
secondary importance.

The change from notes of short value to long, vocalisation on
syllables and others questions mentioned above are equally applicable
to choral melody, but in a minor degree. Not more than
two or three notes should be written on one syllable except for
fanciful and whimsical effects.

Example:

• No. 306. The Golden Cockerel 262; see also before 123.

A. Mixed chorus.

Chorus in unison.

The simplest and most natural combination of voices is sopranos
and altos, or tenors and basses. These combinations produce
ample and vigourous tone, and the mixed timbres serve to give
prominence to a melody in the upper or bass parts. In practice
the other voices are often divided to thicken the harmony. The
combination of altos and tenors produces a peculiar mixed tone
quality, somewhat bizarre and seldom used.

Examples:

• Snegourotchka 64.
• Sadko 208 (cf. Ex. 14).

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.

Voices (divisi); harmonic use of the mixed chorus.

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:

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 III 20 — Procession of Princes.
• Ivan the Terrible, Act II 19 (cf. Ex. 212).

Division of parts can be adopted when one of them is entrusted
with a melody, the remainder forming a sufficiently full accompaniment.
The choice of parts to be divided depends upon the
range of the upper one. When a harmonic-melodic phrase is
repeated in different keys and registers, it may be necessary to
distribute the parts and divide them in another manner, so as to
maintain proper choral balance. As an illustration I give two
extracts of identical musical context, the second (F major) being
a third higher than the first (D major). In the first example the
altos are added to the sopranos to strengthen the melody; the
tenors and basses divisi form the harmony. In the second example
the melody being a third higher may be given to the sopranos
alone; the altos therefore take part in the harmony, and consequently
the lower parts are divided in a different way.

Examples:

• Sadko 173 and 177 (cf. Ex. 205 and 206); compare also the
  same music in G major 189.
• No. 309-310. Ivan the Terrible, Act I 77.

Example 307 is an instance of widely-spaced four-part writing
forming the harmonic basis, with the melodic idea in the orchestra.
In Example 308, the same in musical context, the melodic figure
is given to the sopranos, and among the other parts which form
the harmony the tenors are divided.

Example:

• No. 308. Sadko 152.

In polyphonic writing exceeding 4 part harmony the voices should
be divided so as to obtain the necessary number of actual parts.
One part may be divided into as many as three different parts,
3 sopranos, 3 altos etc.

Examples:

• No. 312. Ivan the Terrible, Act III 69 — Final chorus.
• Servilia 233 — Final chorus.
• Mlada, Act IV 35-36 — Final chorus.

In fugato writing and fugal imitation for mixed chorus the
distribution is generally in four parts, but this number may be
increased for cumulative effects as in the example quoted. In such
cases the composer should be careful as to the arrangement of
the final chord, the summit and climax of the passage. After the
entry of the last of the voices the progression of such a passage
should be handled with a view to the tone of the final chord.
The treatment should be such that concords produced by divided
voices or different groups of voices retain their full value; and
if the final chord be a discord its effect may be heightened by
means of crossing of parts. The reader is advised to examine
carefully the progression of parts leading up to the final chord
in each of the examples given above, paying special attention to
the distribution of these final chords. Crossing of parts must not
be effected at random. The arrangement of choral parts follows
the natural order of register and can only be altered for short
spaces of time to give momentary prominence to some melodic
or declamatory phrase.

Example:

• Ivan the Terrible, Act I 79, Act II 5, Act III 67.

B. Men's chorus and women's chorus.

In writing a three-part female chorus the division should be either
[ILLUSTRATION]

Sopr I/Sopr. II/Altos

or [ILLUSTRATION]

Sopr./Altos I/Altos II

; the same for men: [ILLUSTRATION]

Ten I/Ten. II/Bass

or [ILLUSTRATION]

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:

[ILLUSTRATION]

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:

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.

In four-part choral writing close harmony is preferable, otherwise
the upper part will be in too high a register and the range
of the bottom part too low.

Examples:

• Sadko 17 — Male chorus.
• Ivan the Terrible, Act II 36-38 — Female chorus (cf. Ex. 296).

Distribution in two parts which is generally polyphonic does
not call for any special remarks; the same may be said of chorus
in unison.

Examples:

    

Sadko 50 — Male chorus.
Mlada, beginning of Act I.	} Female chorus
Ivan the Terrible, Act III 13-15. }Female chorus.
Servilia 26.

If male and female choruses are handled in a purely harmonic
manner close part writing should be adopted. This is the only
way to secure proper balance of tone in chords given to voices

of the same kind. Successions of chords in three parts are more
frequent than those in four; sometimes a series of chords is
practicable only in two parts.

Examples:

• Snegourotchka 19 — Chorus of Birds.
• " 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
fourths 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 farther 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:

1. The operation of dividing voices undoubtedly weakens their
resonance, and as the reader will have observed, one of the principal
factors in good orchestration is equal balance of tone in
the distribution of chords. But in choral writing the question is
somewhat different. The orchestra, even after repeated rehearsal
always plays from music; the operatic chorus, on the other hand,
sings by heart. The chorus master can carry out the composer's
instructions as to the division of parts in one way or another,
varying and adjusting the number of singers to each part. By
manipulating some shade of expression he can maintain a balance
of tone between divided and undivided voices. In orchestral
material the composer has to handle a great number of timbres,
widely different in character and volume of tone. In the chorus
there are but four qualities. A chorus moving about the stage
cannot convey varying shades of expression so exactly as an
orchestra seated at the desk. It may therefore be safely assumed
that a composer is entitled to some licence in the question of
dividing choral parts; dealing with the orchestra involves greater
foresight and care.

2. In trying to obtain equal balance in writing three-part choruses
for male or female chorus I have often resorted to the method of
doubling the middle part as recommended on p. 149. The chorus
master is at liberty to equalise the chorus by transferring voices
from one part to another. In choruses divided into three parts
I have noticed that chorus masters are in the habit of giving the
upper part to Sopr. I, or Ten. I, and the two lower parts to Sopr. II
and Ten. II divided. I consider this arrangement unsound, as the
balance of parts can never be equal. The attention of chorus
masters is called to the necessity of strengthening middle parts, for
the expedient of giving prominence to the upper part concerns
melody alone and leaves harmony out of the question.

3. Skillful management of choral parts is a fairly safe guarantee
of clear and satisfactory performance. Miscalculations in writing
are a great hindrance to study, and the most experienced chorus
may come to grief through faulty progression of parts. If the
progression of parts is correct, if discords are properly prepared,

sudden and remote modulations, even of the harshest and most
uncommon kind will be comparatively simple and may be approached
with some degree of confidence. This is a fact which
composers do not always bear in mind, but singers know it well
and appreciate its importance to the full. As an instance I quote
the very difficult modulation which occurs in Ex. No. 169 (Sadko
302). I doubt whether it could be sung if written in any other
way. Careful endeavour on the part of a composer is better than
useless struggle inflicted upon the performer.