If the entrance of the choirs (woodwind, brass and strings) is merely antiphonal, or if the choirs constantly enter together, the result may be somewhat crude or monotonous. Such primitively simple unity of action can be used intentionally with strong and purposeful effect. However, most of the time there must be an essentially polyphonic plasticity of choir action derived from overlapping.
There is always a need for open space in any musical design, and this can be effected by the entry and departure of choirs from the fabric of sound. Such “sculptured silence” gives the mind of the listener more time to fasten upon the tangibilities of motive and pattern. Also, pauses for breath are always desirable for the various players.
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