_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.