or phrases in recitative, melodic
doubling is not always suitable. It is better to support the voice
simply by harmonic duplication.

The repetition of notes--required by declamation--forming no
fundamental part of the rhythmical structure of a phrase or chord
should not be reproduced in the orchestra; the melodic or harmonic
basis alone should be doubled. Sometimes the rhythmical structure of a
choral phrase is simplified in comparison with its orchestral
duplication.

_Examples:_

No. 293. _The Tsar's Bride_ [[96]].

No. 294. _Ivan the Terrible_, Act I, before [[75]].

Choral passages, the musical context of which is complete in itself,
forming a chorus _a cappella_ often remain undoubled by the orchestra,
accompanied solely by sustained notes or an independent polyphonic
figure.

_Examples:_

No. 295. _Sadko_ [[219]].

* _Tsar Saltan_ [[207]].

* _Legend of Kitesh_ [[167]] (cf. Ex. 116).

* _The Golden Cockerel_ [[236]].

Heavier scoring is required for a mixed chorus; for a male voice
chorus the orchestration should be lighter; still more so for women's
voices alone. In scoring a certain passage the composer should not
lose sight of the number of choristers he is employing, for scenic
conditions may necessitate a reduction of that figure. The approximate
number should be marked in the full score as a basis upon which to
work.

_Examples:_

No. 296. _Ivan the Terrible_, Act II [[37]].

* _Sadko_ [[17]], [[20]].

* _Legend of Kitesh_ [[61]] (cf. Ex. 198).

_Note._ It must also be remembered that a _ff_ passage on an
enlarged orchestra, comprising wood-wind in fours, and
numerous brass (sometimes in three's), is capable of
overpowering a large mixed chorus.

A chorus in the wings requires as light an accompaniment as that
employed for a solo singer on the stage.

_Examples:_

* _Ivan the Terrible_, Act I [[25-26]], [[90]]; Act III [[13-14]].

* _The May Night_, Act I, before [[X]]; Act III [[Bbb-Ccc]].

* No. 297. _Sadko_ [[102]].

* _Legend of Kitesh_ [[54-56]] (cf. Ex. 196 and 197).

Solo voice with chorus.

When an _aria_ or recitative is coupled with the chorus great care
must be taken in the choral writing. A woman's solo voice stands out
well against a male voice chorus, likewise a solo male voice against a
women's chorus, for in both cases, the timbre of the solo voice
differs from the rest. But the combination of solo voice and chorus,
of the same timbre