B. Men’s Chorus and Women’s Chorus
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:
Sopr. I
Sopr. II
Altos I
Altos II Ten. I
Ten. II
Bass I
Bass II
To give prominence to a melody in the middle part in three-part harmony, the following method may be adopted:
Sopr. I
Sopr. II + Altos I,
Altos II or Ten. I
Ten. II + Bass I.
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.
Examples:
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.
Examples:
Sadko 17—Male chorus.
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.
Examples:
| Sadko 50—Male chorus. | ||
| Mlada, beginning of Act I. | } | Female chorus. |
| Ivan the Terrible, Act III 13-15. | ||
| 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.
Examples:
Snegourotchka 19—Chorus of Birds.
" 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.
Examples:
Sadko 20-21.
* The Tsar’s Bride 29-30.
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.
Example:
Snegourotchka 198—Hymn of Tsar Berendey’s Subjects (cf. Ex. 166).
As a general rule a female chorus does not contain the real harmonic bass part when this part is situated in the low register, so that no octaves are formed between the real bass and the lower choral voice. Harmony in a chorus for women is generally given to the three upper parts, the lower part acting as accompanying bass. It will be noticed that this rule may lead to the employment of chords of the sixth and empty consecutive fourth’s and fifth’s which should be avoided. In example No. 311 (Sadko 270), this is remedied by the high position of the bass part; later an empty interval (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 great hindrance to study, and the most experienced chorus may come to grief through faulty progression of parts. If the progression of parts is correct, if discords are properly prepared, sudden and remote modulations, even of the harshest and most uncommon kind will be comparatively simple and may be approached with some degree of confidence. This is a fact which composers do not always bear in mind, but singers know it well and appreciate its importance to the full. As an instance I quote the very difficult modulation which occurs in Ex. No. 169 (Sadko 302). I doubt whether it could be sung if written in any other way. Careful endeavour on the part of a composer is better than useless struggle inflicted upon the performer.
July 31st (Aug. 13th) 1905.
VOLUME II
Footnotes
1 This manuscript was given to me by Alexander Glazounov; if a Rimsky-Korsakov museum is ever founded it will be placed there.
2 This preface had already been published in his Notes and Articles on Music (St. Petersburgh, 1911).
3 Recently the firm of Belaieff has published Rimsky-Korsakov’s symphonic works in miniature score, pocket-size.
4 In the margin of the MS. a question mark is added here. (Editor’s note.)
5 A. Glazounov has well expressed the various degrees of excellence in scoring, which he divides into three classes: 1. When the orchestra sounds well, playing from sight; magnificent, after a few rehearsals. 2. When effects cannot be brought off except with the greatest care and attention on the part of conductor and players. 3. When the orchestra never sounds well. Evidently the chief aim in orchestration is to obtain the first of these results. (Author’s note.)
6 A short review of these various questions forms the first chapter of the book. (Editor’s note.)
7 To give a list of easy three and four-note chords, or to explain the different methods of bowing does not come within the scope of the present book.
8 Of late years sometimes two tubas are employed, by Glazounov for instance in his Finnish Fantasia. (Editor’s note.)
A The 7th natural harmonic is everywhere omitted as useless; the same in the horns, the notes 11, 13, 14 and 15.
B The b♮ of the octave -1 does not exist on the trombones.
9 A Russian instrument which, like the balalaïka, is better known abroad. (Translator’s note.)
10 A chromatic harp without pedals has now been invented in France (Lyon’s system), on which the most abrupt modulations are possible. (Translator’s note.)
11 Rimsky-Korsakov’s opera Sadko and Moussorgsky’s Boris Godounov are particularly interesting in this respect. (Translator’s note.)
12 Recently, bells have been made of suspended metal plates possessing the rare quality of a fairly pure tone, and which are sufficiently portable to be used on the concert platform. (Editor’s note.)
C The present volume is divided into two parts, text (pp. 1-152) and musical examples (pp. 1-333). The first page of the second part lists the standard full-score editions of Rimsky-Korsakov’s works that are referred to throughout the book. These references to specific passages are always indicated by boxed numbers or boxed letters corresponding to the ones marking the sub-divisions of the particular score. On the other hand, references in the text to the 312 musical examples in the second part of the book are always indicated as “No. 1,” “No. 2,” etc. Thus, “The Tsar’s Bride 84” indicates that the reader should look at section 84 of the score of The Tsar’s Bride as published by Belaieff in Leipzig, the music of which is not reprinted here; whereas “No. 1. Shéhérazade 2nd movement B” indicates that the reader should look at the first musical example in the second part of the present book, which comes from the section marked B in the second movement of the score of Shéhérazade as published by Belaieff.
13 The composer has emended the score in the following manner: from the fifth to the ninth bar after 305, and also from the fifth to the ninth bar after 306, the three clarinets play in unison, the trumpet being marked forte instead of fortissimo; in the example, the first of these passages is corrected according to the composer’s alteration. (Editor’s note.)
14 The process of doubling strings and wood-wind in octaves:
Fl.
Vns ] 8, Ob.
‘Cellos ] 8,
etc. often used by the classics to obtain balance of tone, is not to be recommended, as the tone quality of the two groups is so widely different. As a result of the ever-increasing tendency to profusion of colour, this method has recently come into fashion again, notably among the younger French composers. (Editor’s note.)
15 In the full score a misprint occurs in the clarinet part; it is corrected in the example. (Editor’s note.)
16 A splendid example of the combination of strings and brass may be found in the introduction to the 2nd scene of the 4th act of “Khovanstchina” by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor’s note.)
17 Mention should be made of the happy use of a small orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone, tambourine, 4 Vns, 2 violas, 1 D-bass) in The May Night, Act II, Sc. I. M-P. (Editor’s note.)
18 Here the author approaches a question so well known to the Russians that it does not require any further elucidation for their guidance. But a whole book would have to be written to form a compendium of practical rules on this subject, and to point out the errors which nearly all French composers openly commit—even those who are famous for their sense of diction and literary style. We can only conclude that the question has come to be considered of minor importance in France, perhaps on account of the lack of definite stress on the syllables of words, which is characteristic of the French language. It is not within the translator’s province to discuss the question of French versification or to elaborate the excellent maxims laid down by Rimsky-Korsakov, the first, among many, to touch upon this delicate and important subject. (Translator’s note.)
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.)