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. extract, 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.
Table F. Voices.
Chorus:
[Music: Soprano.
Contralto.
Tenor.
Bass.]
Soloists:
[Music:
Soprano.
Mezzo-soprano.
Contralto.
Tenor.
Baritone.
Bass.]
_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.[18]
[Footnote 18: Here the author approaches a question so well known to
the Russians that it does not require any further elucidation for
their guidance. But a whole book would have to be written to form a
compendium of practical rules on this subject, and to point out the
errors which nearly all French composers openly commit--even those who
are famous for their sense of diction and literary style. We can only
conclude that the question has come to be considered of minor
importance in France, perhaps on account of the lack of definite
stress on the syllables of words, which is characteristic of the
French language. It is not within the translator's province to discuss
the question of French versification or to elaborate the excellent
maxims laid down by Rimsky-Korsakov, the first, among many, to touch
upon this delicate and important subject. (Translator's note.)]
_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]] [Transcriber's Note: so in original] (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 [Transcriber's Note: to] 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,
skilful 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 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, 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;
3 [Sopr. M.-sopr. Ten. Bar.
[M.-sopr., C.-alto, Bass, 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: 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_ [[254-255]].
Relationship in tenths 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: 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
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 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]]--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,
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_).[19]
[Footnote 19: _Contrebasses_ 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 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 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 principal
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 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 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 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 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 practised. 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, 8 [Sopr. I/Sopr. II
etc., except perhaps in the basses 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 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: 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:
Sopr. + Altos] 8 [Sopr.
8 [Ten. ] 8, or else [Altos + Ten. ]
[Basses Basses] 8.
_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:
[Sopr. I
[Sopr. II
Altos
[Ten. I
[Ten. II
[Basses I
[Basses II.
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 II [[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.
_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/Bass or 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:
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:
Sopr. I Ten. I
Sopr. II + Altos I, or Ten. II + Bass I.
Altos II Bass 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 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:
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. 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.
_Principles
of Orchestration_
[VOLUME II]
The musical examples in this volume are taken from the composer's
following works:
W. BESSEL & CO., publishers, Petrograd.
"IVAN THE TERRIBLE", opera in 3 acts, 1894 edition.
"SNEGOUROTCHKA", opera in prologue and 4 acts (1880-1881).
"THE LEGEND OF TSAR SALTAN", opera in prologue and 4 acts (1899-1900).
"SERVILIA", opera in 5 acts (1900-1901).
"KASHTCHEÏ THE IMMORTAL", opera in 1 act of 3 scenes (1902).
"PAN VOYEVODA", opera in 4 acts (1902-1903).
"VERA SCHELOGA", prologue to "IVAN THE TERRIBLE", op. 54 (1898).
"ANTAR", symphonic suite (2nd symphony), _new edition_ of 1897, published
in 1913.
P. JURGENSON, publisher, Moscow.
"SADKO", symphonic poem, 1891-1892 edition.
"THE GOLDEN COCKEREL", opera in 3 acts (1906-1907).
M.P. BELAIEFF, publisher, Leipzig.
"THE MAY NIGHT", opera in 3 acts (1878-1879).
"MLADA", opera-ballet in 4 acts (1889-1890).
"THE CHRISTMAS NIGHT", opera in 4 acts (1894-1895).
"SADKO", opera-legend in 7 scenes (1895-1896).
"THE TSAR'S BRIDE", opera in 4 acts (1898).
"THE LEGEND OF THE INVISIBLE CITY OF KITESH AND THE MAID FEVRONIA",
opera in 4 acts (1903-1905).
"SPANISH CAPRICCIO", op. 34 (1887).
"SHEHERAZADE", symphonic suite from the "THOUSAND AND ONE NIGHTS",
op. 35 (1888).
"RUSSIAN EASTER FÊTE", Overture on Russian Church Themes, op. 36 (1888).
[Transcriber's Note: See the HTML version for the musical examples in
Volume II.]