The advanced calisthenic section introduces some interesting challenges by changing the key of some of the basic calisthenics to their tonic natural or melodic minor. This means that you are looking at familiar shapes which now have to be reinterpreted according to the key signature. For instrumentalists this involves taking note of different visual information which defines which key or valve or finger position is selected, and this selection configures the instrument to play the modified note, whereas a singer has to develop a keen sense of tonality in order to effect this major/minor switch. The calisthenic ideas in conjunction with an understanding of the effect of the new key signature on interval size and relationships will aid this development. The particular points to watch for will be annotated for each exercise. Exercises 15 and 16 are based on sections from Handel, introducing more complicated shapes and dealing with the analysis of such shapes to find sub-phrases which allow you to apply a 'grammatical' structure to a long sequence of notes and thus communicate the composer's intention to the listener. A long-note study is provided by exercise 17 and this will build stamina for those times when a sustained phrase is required, but there are many times when it is inappropriate to sing right through a long sequence of notes and/or words and the choreographic studies will deal more with the use of the breath to apply the subtle punctuation required in these situations.