In England Purcell wrote significant music for a higher male voice that he called a "counter-tenor", for example, the roles of Secrecy and Summer in "The Fairy-Queen" (1692). "These lines have often challenged modern singers, who have been unsure whether they are high tenor parts or are meant for falsettists". Contemporary vocal treatises, however, make clear that Purcell’s singers would have been trained to blend both methods of vocal production. In Purcell's choral music the situation is further complicated by the occasional appearance of more than one solo part designated "countertenor", but with a considerable difference in range and tessitura. Such is the case in "Hail, bright Cecilia" ("The Ode on St Cecilia's Day 1692") in which the solo, "'Tis Nature's Voice," has the range F3 to B4 (similar to those stage roles cited previously), whereas, in the duet, "Hark each tree," the countertenor soloist sings from E4 to D5 (in the trio "With that sublime celestial lay". Later in the same work, Purcell's own manuscript designates the same singer, Mr Howel, described as "a High Contra tenor" to perform in the range G3 to C4; it is very likely that he took some of the lowest notes in a well-blended "chest voice" – see below).