_Ivan the Terrible_, Act I [[79]], Act II [[5]], Act III [[67]].
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:
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 widely-divided or close.
_Ivan the Terrible_, Act I [[25-26]], [[23-31]] (Women's chorus).
_Sadko_, before [[181]]--Men's chorus (cf. Ex. 27).
No. 311. _Sadko_ [[270-272]]--Women's chorus.
In four-part choral writing close harmony is preferable, otherwise the upper part will be in too high a register and the range of the bottom part too low.
_Ivan the Terrible_, Act II [[36-38]]--Female chorus (cf. Ex. 296).
Distribution in two parts which is generally polyphonic does not call for any special remarks; the same may be said of chorus in unison.
_Mlada_, beginning of Act I. } _Ivan the Terrible_, Act III [[13-15]]. } Female chorus. _Servilia_ [[26]]. }
If male and female choruses are handled in a purely harmonic manner close part writing should be adopted. This is the only way to secure proper balance of tone in chords given to voices of the same kind. Successions of chords in three parts are more frequent than those in four; sometimes a series of chords is practicable only in two parts.
" [[281-285]]--Chorus of Flowers (cf. Ex. 26).
In _fugato_ writing, and fugal imitation in three parts, allotted to a chorus composed of voices of one kind, the principal subject is given to two parts, the counter subject to one; by this method the doubled themes will stand out to better advantage.
Male and female choruses, apart from the part they play as individual unities, may be introduced as separate groups in mixed choruses alternating with the whole _ensemble_.