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Cooksey finds that a prepubescent boy’s speaking pitch averages about two to three semitones above the lowest pitch of his singing voice range, and gradu- ally changes to four to six semitones above it in the postmutational stage. This information can be helpful in classifying voices correctly. Ideally, individual voice testing should be done every six to eight weeks so that the choir director will be aware of each boy’s range and tessitura, as well as other factors, including pos- ture, breath control, dynamic capabilities, and pitch agility. Cooksey believes that voice types are not produced by increased training but are instead predetermined genetically—so he warns against trying to “create” a tenor, baritone, or bass voice. He also argues that boys should not have intensive private voice training until their voices have “settled.” This view is supported by laryngologists and speech pathologists (Cooksey 1977, Part II). In their brief but informative book, The Boy’s Changing Voice: New Solutions for Today’s Choral Teacher (1991), Terry J. Barham and Darolyne L. Nelson base many of their approaches on Cooksey’s research. From their own extensive testing and experience with changing voices, however, the authors have reduced Cooksey’s six categories of the changing voice to four, with slightly different ranges Figure 8.6 shows the various stages of male vocal mutation as well as the range and tessitura for each stage suggested by Anthony Barresi (1986). Stage 1 is often called “ boy alto,” and Stage 2 is comparable to the cambiata category or the alto-tenor voice. Stage 2A is a brief stopping place between Stages 2 and 3, and Stage 3 is the postmutational period from which adult tenors and basses will eventually emerge