Principles of Orchestration Part 38

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 c.u.mulative 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 pa.s.sage. After the entry of the last of the voices the progression of such a pa.s.sage 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 s.p.a.ces of time to give momentary prominence to some melodic or declamatory phrase.

_Examples:_

_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 Sopr. I/Sopr. II/Altos or Sopr./Altos I/Altos II; the same for men: Ten. I/Ten. II/Ba.s.s or Ten./Ba.s.s I/Ba.s.s 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 Ba.s.s I Ba.s.s II

To give prominence to a melody in the middle part in three-part harmony, the following method may be adopted:

Sopr. I Ten. I Sopr. II + Altos I, or Ten. II + Ba.s.s I.

Altos II Ba.s.s 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.

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. } _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 princ.i.p.al 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 ba.s.s part when this part is situated in the low register, so that no octaves are formed between the real ba.s.s 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 ba.s.s. 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 ba.s.s 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 ba.s.s 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 princ.i.p.al 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 a.s.sumed that a composer is ent.i.tled 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. Skilful 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.

July 31st (Aug. 13th) 1905.