to guarantee equality in even the shortest succession of
chords.

_Examples:_

_Snegourotchka_ [[178]] Hymn of Tsar Berendey's subjects.

No. 305. _Legend of Kitesh_ [[341]].

The second half of the last example is an instance of six-part
harmonic writing; the upper voice stands out prominently, the rest
form a kind of accompaniment.

Chorus.

Range and register.

The range of choral voices is slightly more limited than that of
soloists. The exceptional register may be considered as two notes
above and below the normal octave. The dotted lines extended still
further indicate the limits upon which a composer may rely in very
exceptional cases, as every full chorus must contain a few voices of
more than average compass, in this respect approaching the solo voice
in character. In many choruses one or two bass singers may be found
who are able to go still lower than the limit of the exceptional range
(they are called _octavists_).[19]

[Footnote 19: _Contrebasses_ voices as they are called when mentioned
in French works are peculiar to Russia, in which country they are
plentiful. (Translator's note.)]

_Note._ These uncommonly deep notes must be moderately well
sustained and can only be used when the whole chorus is
singing quite _piano_; they are hardly applicable except in
unaccompanied choruses (_a cappella_).

The difference in range between the "firsts" and "seconds" in each
type may be fixed as follows: the normal octave and the exceptionally
low register should be allotted to the "seconds", the same octave and
the exceptionally high register to the "firsts".

The composition of the chorus is approximately as follows: for a full
chorus, 32 singers to each of the 4 parts sopr., alt., ten. and bass;
for a chorus of medium size, from 16 to 20, and for a small chorus
from 8 to 10 singers. The number of women will often predominate, and
more voices are given to the "firsts" than to the "seconds".

On account of stage requirements a chorus may have to be divided into
two or even three separate parts. This is a great disadvantage,
especially with a small chorus, as each chorister becomes more or less
a soloist.

The methods of writing for operatic chorus are very numerous. Besides
the primary harmonico-polyphonic arrangement, containing the whole
musical idea, the voices may be made to enter separately, singing or
declaiming phrases of varying length; they may progress in unison or
in