2]].

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