val (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
grea