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