Sean - Background: C&W and original song band but wanting to explore the voice. The upper tenor range was undeveloped and the 'falsetto' not utilised. Now singing calisthenically from F to f# '' and also developing an authentic style for alto baroque arias; a rich baritone for songs like Vaughn Williams' 'The Vagabond' and the full tenor range is now appearing. The voice is still evolving and the path from low to high is rapidly becoming integrated. This was an interesting experiment in that by working his voice across the range of bass to high alto, singing songs by Handel, I succeeded in curing his intonation problems and produced a voice which was not only performing better in the band scene but was also able to cross over and sing the oratorio solos authentically across those three ranges.

Margaret - Nature’s voice only allowed her to sing up to 2 nd line G, which meant that when singing in church she had to drop down to join the male voices. Once again the callisthenics transformed this situation and top G became the norm.

Gregg - Background: Saxaphone player interested in developing vocal skills so as to increase his usefulness in the band situation. He thought and felt that 4th line D, reading as tenor, was a high note!. Over the span of about 16 months he has established his tenor range up to Bb, successfully bridged the gap between this note and the 'falsetto' to establish the alto range and has now taken this voice in incremental steps up to < c''' >(ie C on the 2nd leger-line above the soprano stave; this being the result of steady work with the calisthenic ideas and techniques - this voice was certainly not a 'given'.

Sammy - Very good treble voice at age 7 but the inevitable changes began at 13. By anticipating these changes using the callisthenic exercises I was able to show him how to cope with the breaks and within 2 months had produced a voice which was settling into the baritone range as well as keeping the top of the tenor range in place and in addition was able to sing on into the alto/soprano range so necessary for the male pop/rock voice.

Christopher - Was referred to me for urgent assistance in the singing of the ear tests for ABRSM harp examinations. He was a very good musician and had a very acute ear so his pitch perception was fine but nature had not given him the link to allow vocal matching of the perceived pitch. Not only did I succeed in creating this link, which allowed him to gain those vital marks in the exam, but a very acceptable baritone voice appeared and he was singing songs such as ‘The Vagabond’ (Vaughn Williams) and even tackling bass oratorio solos by Bach

Desmond - Presented at age 70 after a lifetime of mainly listening to the great music of the church - rapidly extended his vocal range and agility and, to his amazement, found himself able to sing Messiah tenor arias.

Edward - Nature conferred on Edward a sopranist voice somewhat akin to Ivan Rebroff (for those of us with long memories) but did not give him the same bass-voice. In fact the high voice was so dominant that he defaulted up an octave when singing standard songs. He was in effect 'tone-deaf' in the normal male baritone range and noted that he could not hear the notes in that range and this was borne out when he first tried the descending categories of the calisthenics going down through the bass-clef range. This situation was akin to my experience on the natural trumpet described above and can be explained as an inability to focus the voice into the appropriate harmonic resonating spaces in the skull. The calisthenic ideas soon brought this under control. Of course despite being very aware of the high voice he had no idea that it extended up to that top < c''' > until I presented him with the AHR level of the calisthenics.(amazingly high range,or absurdly high!