[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_ [[15