Treating solo voices in a polyphonico-harmonic manner is the best method of preserving their individual character in ensembles. A distribution which is wholly harmonic or entirely polyphonic is seldom found. The first plan, largely used in choral writing, simplifies the movement of the voices too greatly, eliminating their melodic character; the second method is wearisome and somewhat disturbing to the ear.

As a general rule the voices are arranged according to the law of normal register. Crossing of parts is rare and should only be done with the intention of emphasising the melody in the ascending voices above those adjacent in register, e.g. the tenor part above contralto, the mezzo-soprano above the soprano, etc.

Duet.

The combinations most conducive to the proper movement of parts are those of two voices related within an octave

Movement in tenths, sixths, thirds or octaves (the last very seldom) will always produce satisfactory ensemble, and if the parts progress polyphonically, it need not happen frequently that they are separated by more than a tenth, or that undesirable crossing of parts will result.

Examples:

Sadko 99-101—Sopr. and Tenor (cf. Ex. 289, 290).

Servilia 143—Sopr. and Tenor.

Ivan the Terrible, Act I 48-50—Sopr. and Tenor.

KashtcheÏ the Immortal 62-64. Mezzo-sopr. and Baritone.

Voices related in fifths and fourths,

should progress nearer to one another; it is rare for them to move in tenths, common in sixths and thirds; they may also proceed in unison. The two voices are seldom separated at a greater distance than an octave, and certain cases will require crossing of parts, which, however, should only be for periods of short duration.

Examples:

Snegourotchka 263-264—Soprano and Alto.

* The Christmas Night 78-80—Alto and Tenor.

* Legend of Kitesh 338—Tenor and Bass.

Voices related in thirds;

may move in unison, in thirds and sixths, and admit very largely of the crossing of parts. Separation by more than an octave must only be momentary, and is generally to be avoided.

Examples:

* The Tsar's Bride 174—Sopr. and Mezzo-sopr.

* Tsar Saltan 5-6—Sopr. and Mezzo-sopr.

In the case of voices related in twelfths:

intervals approaching one another do not create a good effect, for this transplants the deeper voice into the upper register and vice versa. Singing in unison is no longer possible, and thirds are to be avoided; the use of sixths, tenths and thirteenths is recommended. The voices will often be separated by more than a twelfth and crossing of parts is out of the question.

Example:

* Tsar Saltan 254-255.

Relationship in tenths

is fairly common. The explanations given above are also applicable in this case.

Example:

Snegourotchka 291-300 (cf. extract, Ex. 118) Sopr. and Bar.

The use of similar voices in pairs:

entails singing in unison and thirds. They should rarely be separated beyond a sixth, but crossing of parts is inevitable, as otherwise the resultant volume of tone would be too weak.

As a general rule, writing for two voices is only successful when the progression of parts is clear, when discords are prepared by a common note, or are the outcome of conveniently separated movement and correctly resolved. Empty intervals of fourths and perfect fifths, elevenths and twelfths should be avoided on the strong beats of a bar, especially on notes of some value. If, however, one of the voices assumes a melodic character, the other forming the harmonic accompaniment in declamatory style, it is not absolutely necessary to avoid the intervals mentioned above.

Trios, quartets etc.

All that has been said regarding the relationship of voices in duet applies with equal force to the combination of three, four, five or more voices. An ensemble of several voices is seldom purely polyphonic; as a rule, although some parts move polyphonically, progression in thirds, sixths, tenths and thirteenths is used for the remainder. Declamation for some voices on notes forming the harmony is also possible. This variety of simultaneous movement of vocal parts renders the comprehension of the total effect less difficult for the ear, and sanctions the distribution of distinctive and suitable figures or tone colouring to certain voices with other figures or timbres which may be proceeding at the same time. The skilful arrangement of pauses and re-entries facilitates the understanding of the whole, and gives desirable prominence to detail.

Examples:

Snegourotchka 267—Trio, Finale to Act III.

The Tsar's Bride 116-118—Quartet in Act II.

""" 168-171—Sextet in Act III (cf. extract, Ex. 283).

Servilia 149-152—Quintet in Act III.

The movement of solo voices is seldom purely harmonic in character with predominance given to the upper voices homophonically treated. The blending of all the parts into an harmonic whole, without any distinctive predominant feature in any one part (as in a chorale) is employed for songs or ensembles in traditional style, prayers, hymns, etc. If this method is adopted for the quartet of voices,

• Sopr.
• Alto
• Ten.
• Bass,

it will be noted that widely-spaced part writing is the most natural and suitable form (especially in forte passages), as the four voices can sing together in their proper registers (low, middle and high), while, in close part writing they may find themselves at a given moment in registers, which are entirely foreign. But both methods should be employed, as, otherwise, it would be impossible 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.