applicable
to choral melody, but in a minor degree. Not more than two or three
notes should be written on one syllable except for fanciful and
whimsical effects.

_Example:_

No. 306. _The Golden Cockerel_ [[262]]; see also before [[123]].

A. Mixed chorus.

Chorus in unison.

The simplest and most natural combination of voices is sopranos and
altos, or tenors and basses. These combinations produce ample and
vigourous tone, and the mixed timbres serve to give prominence to a
melody in the upper or bass parts. In practice the other voices are
often divided to thicken the harmony. The combination of altos and
tenors produces a peculiar mixed tone quality, somewhat _bizarre_ and
seldom used.

_Examples:_

_Snegourotchka_ [[64]].

_Sadko_ [[208]] (cf. Ex. 14).

Progression in octaves.

The most beautiful and natural combinations are sopranos and tenors 8
[Sopr./Ten., altos and basses 8 [Altos/Basses; they produce a tone
both brilliant and powerful. Progression of sopranos and altos, or
tenors and basses is seldom practised. Though the latter combinations
may occur in choruses for women and men alone, they can only be used
in melodies of restricted length. The difference of register in which
the voices move does not permit of the same balance of tone obtained
by voices of a distinctive kind.

_Examples:_

_Snegourotchka_ [[60]], [[61]]--Carnival Procession.

" [[113]]--Wedding Ceremony.

_Sadko_ [[37]]--Chorus of Guests, 1st Tableau.

Dividing kindred voices in octaves is seldom done, 8 [Sopr. I/Sopr. II
etc., except perhaps in the basses 8 [Basses I/Basses II, when the
progression of parts demand it, or it is required to double the bass
part in octaves.

_Examples:_

_Ivan the Terrible_, Act III [[68]]--Final chorus (cf. Ex. 312).

_Sadko_ [[341]]--Final chorus.

A beautifully round tone results from doubling men's and women's
voices in octaves 8 [Sopr. + Altos/Ten. + Basses.

_Example:_

_Snegourotchka_ [[323]]--Final chorus.

Brilliance and vigour is achieved when sopranos and altos progress in
thirds doubled in octaves by tenors and basses also in thirds: 8
[Sopr./Altos] 3/[Ten./Basses] 3.

_Examples:_

_Mlada_, Act I [[24]]; Act II, before [[31]].

_The Golden Cockerel_ [[235]].

On the rare occasions when the whole chorus progresses in double
octaves the usual arrangement is:

Sopr. + Altos] 8 [Sopr.
8 [Ten. ] 8, or else [Altos + Ten. ]