This chapter examines secondary or subsidiary choruses in Greek tragedy, illustrating the manner in which ancient playwrights staged multiple choruses in conflict. I argue that secondary choruses complicate the standard model of the tragic chorus as a single and static entity by forcing spectators to confront various choral groups. My discussion focuses on the two modes enabled by these supplementary choruses across tragedy, comedy and satyr play: how these secondary collectives, when in the presence of the main chorus, create a ‘swarm’, and when they are not, act as ‘spectres’ that ‘haunt’ and inform audience perceptions of the main chorus. It offers extended readings of two plays which employ secondary choruses to achieve maximum dramatic effect: Aeschylus’ Suppliants, where the playwright uses the Danaids’ respective meetings with the secondary choruses of Egyptians and Argive soldiers to chart the women’s path to Greekness, and Euripides’ Phaethon, which uniquely brings together choral spectre and swarm in a remarkable scene in which the main chorus is forced to witness, silently, an alternative version of itself, as another chorus sings the song that they themselves had longed to sing.