Principles of Orchestration Part 36

_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: 12 [Sopr./Ba.s.s, 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_ [[254-255]].

Relationship in tenths 10 [Sopr./Bar. or M.-sopr./Ba.s.s 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: 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: 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 a.s.sumes 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 s.p.a.ce 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 skilful 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]]--s.e.xtet 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 h.o.m.ophonically 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, Sopr./Alto/Ten./Ba.s.s, it will be noted that widely-s.p.a.ced part writing is the most natural and suitable form (especially in _forte_ pa.s.sages), 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 compa.s.s, in this respect approaching the solo voice in character. In many choruses one or two ba.s.s singers may be found who are able to go still lower than the limit of the exceptional range (they are called _octavists_).[19]

[Footnote 19: _Contreba.s.ses_ voices as they are called when mentioned in French works are peculiar to Russia, in which country they are plentiful. (Translator's note.)]

_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 cappella_).

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 ba.s.s; 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 princ.i.p.al methods of handling the chorus, I advise the reader to study vocal and orchestral scores where he will find many ill.u.s.trations 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 ba.s.ses, or sopranos, altos and tenors. There remains yet another point to be considered, the sub-division 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 princ.i.p.al chorus. For this reason sub-division 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 be 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 repet.i.tion 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 other 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 c.o.c.kerel_ [[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 ba.s.ses. These combinations produce ample and vigourous tone, and the mixed timbres serve to give prominence to a melody in the upper or ba.s.s 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.