Choral Considerations for the TGE Singer
When it comes to choral singing, there are many different aspects that a director needs to take into consideration while working with a transgender, non-binary, or gender expansive (TGE) singer. Granted, as every situation is contextual and every trans person is different, the impact of these considerations will vary from person to person and situation to situation. It’s important to be familiar with all of these though so you are best prepared to not only understand potential circumstances you may run into, but also how to best support your transgender singer.
The following sections are going to be broken down for easy perusal and quick access when looking at different considerations. In these sections, I will focus on, voicing/sections and standing arrangements, the effects of hormone therapy on the voice, potential alterations of gender expression made by trans people that could affect vocal pedagogy, such as adjusting the speaking pitch, or the effect of binders and waist trainers on the singing voice, and discuss a few singing strategies for the trans singer.
Voicing and Sections
Some of the most common questions asked about working with transgender singers in the choir revolve around what voice part a student should sing, what section they should stand in, and how a choir director should arrange their singers. Most times, the question is asked innocently and with good intentions, typically by a choir director attempting to produce the best choral sound without placing too much emphasis on the TGE student.
Though the question seems like a static consideration, the answer is dynamic and contextual. It depends on the singer, their comfort level, and a litany of other concerns. The first step of this process is remove gendered associations of the vocal instrument as much as possible before you even begin voicing:
“I have a variety of genders in every voice part, so as a conductor I simply refer to my singers by voice (soprano, alto, tenor, bass) rather than by gender (men, woman, boys, girls, ladies, gentlemen. I also ask any guest conductor or clinician working with my chorus to also refer to voice parts rather than genders.” (Miller, 62)
“I’m not too sure how I feel about this new choir director. I observe him as he walks in, suddenly anxious about what he might say today to make me feel uncomfortable. 'Good afternoon Ladies and Gentlemen. Let’s split up into sections to work on the Bach. Women, stay in here and men, go to Room 114.' I’m frozen in my seat as everybody else begins to move. This year, I am finally living full-time as a female, but I still sing Bass II in the choir. Where do I go? A quick look at my outfit would have me remaining in the room. A bright pink shirt with a white bra strap peeking out, paired with black capris and a simple pair of ballet flats declare to the world that I’m a woman. I look up and the majority of the tenors and basses have already left the room. I begrudgingly stand and make my way to the door. Each step away from the other women in the ensemble highlights how different I am. As the door to the main choir room closes, I see the director moving on, completely oblivious as to how he just made me feel. These are the times when I hate choir.” (Bartolome & Stapleton, 2017, p. 126)
This goes for the names of ensembles as well. There is no need to use "Men's Choir" or "Women's Choir", when "Treble Choir" or "Tenor/Bass Choir" or something else more creative can be used. By referring to voice parts rather than gender, you instantly help the trans singer focus on their voice and not their gender. When beginning the voicing process, use gender neutral words like singing "high or low” or “lighter versus darker”. Vocalize the student as normal and find their healthiest singing range and determine where you would place that student ordinarily if they were cisgender.
Once the student is vocalized, privately discuss what section you think would be best suited for their voice. For some TGE singers, that will be that. They could happily go off into the section and not have any complaints because that’s where their singing voice may fit and feel best. For other trans singers, the issue will be more complex. The simple truth is: No matter how much we try to remove gendered associations of the voice, soprano and altos are stereotypically considered “the girls”, while tenors and basses are “the boys”. That connotation is longstanding and may not ever be be fully erased.
Because of this, some TGE singers are going to feel uncomfortable being in a section that has such a gendered connotation. There are a few different ways to approach this discomfort with the student. Firstly, the student should be reassured that it is okay to be uncomfortable at the prospect of singing in the particular section. Note that this goes beyond the preponderance of a student saying they “don’t like” something or don’t want to sit in a section because their friends are not nearby. Being in the wrong section could heavily trigger gender dysphoria and cause instant animosity towards choir and the director of the choir. This has the potential to cause the transgender singer to give up choir or singing in general.
Secondly, talk with the student and have an honest conversation about the vocal benefits of singing in the section that their voice fits best into. Don’t push the student one way or the other, as that could end up making the student feel more uncomfortable, look at it as a way to give the student all the information before making the choice that’s best for them. Singing in a different section could mean the voice is more fatigued or the vocal quality might not be as strong as the other members of the section, and they might not be able to hit 100% of the notes.
From there, if the trans student still would be more comfortable in another voice part, choose one that they could be more comfortable in and find the most success in. For example, a tenor or bass/baritone with a strong head voice could fit into an Alto section. Depending on the range, Alto I might be more suitable as the Alto II part could venture too deeply into their passagio, and the higher notes of Alto I might not reach the upper limits of the student’s range.
For a soprano/alto, shifting some students to Tenor I is a technique that is used for cisgender singers all of the time, especially when there is a lack of tenors (which frequently seems to be the case). Work on strengthening the chest voice of the student to assist them in reaching those notes. See the “Singing Strategies for the Transgender Singer” section below for more specificity. If a student is completely unable to sing in another part due to range or other vocal issues, that might be an instance where the singer needs to sing in the original voice part, but the director will need to take great care to avoid gendered language or potential gender dysphoria triggers.
Line Recombination & Flexible Fach
Since BtB was first created, Dr. Stevie Hirner has published her work on line recombination, a practice in which directors fuse or recombine the alto and tenor lines to come up with a "new," intermediate line that provides singers with a more singable option. You can find more about line recombination and Recombined Choral Library (in which you can request her team to create a recombined line for you!) at her website: Transitioning Voices.
In addition to line recombination, Dr. Hirner's dissertation (2023) also centered on the creation of her new singing protocol for TGE singers called the Flexible Fach Gender Affirming Protocol. Her protocol uses the tenets of vocal science's Gender-Affirming Voice and Communication Therapy (GAVT) to create science-informed gender affirming exercises to masculinize or feminize the singing voice.
As she states in the abstract of her dissertation:
“'Flexible Fach Gender Affirming Singing Protocol (FFP)' and 'line recombination,' are established as science-informed practices that practitioners can apply when seeking to alter the gender percept of the singing voice to align more closely with the singer’s authentic gender identity or to transition from one traditional choral part to another.
The FFP combines the primary tenets of gender affirming voice and communication therapy as practiced by licensed speech-language
pathologists with science-informed singing pedagogy to establish a protocol that empowers singers to alter their voice’s gender percept through specific adjustments to posture, onset, articulation, registration, and resonance.
Through the application of the FFP in choral ensembles, TGE singers who are pursuing a vocal transition may assimilate into their desired voice part due to the subsequent altering of their gender percept. For those unable to perform their desired voice part in its entirety due to limited range or developing technique, line recombination can provide a healthy alternative that accounts for the singer’s gender identity and maintains musical integrity.
Work by Beede (2025) has already begun exploring the benefits of these methodologies in choral praxis. Choral directors are encouraged to likewise explore Dr. Hirner's work to best support their TGE Singers in their ensembles.
Essentialist Vocal Pedagogy
Additionally since BtB's creation in 2020, some of my own scholarship has more deeply explored how we perceive vocal gender. In my review of literature (Stapleton, 2026) in Update: Applications of Research in Music Education, I argue for a constructivist interpretation of the voice rather than an essentialist frame. If you have access to the journal, please go take a look! From the abstract:
The human voice carries more than sound—it aurally conveys identity. In music education, the voice has often been treated as a sexed instrument, with binary, biological assumptions guiding classification and pedagogy. Using sources across music education, vocal science, and psychology, I explore (a) how listeners perceive gender in speaking and singing, (b) how voices outside gendered norms are perceived externally and internally, and (c) how those perceptions shape choral and vocal pedagogy. Findings reveal that gendered sound is not fixed in anatomy but produced through culture, context, and choice. Voices outside binary norms like transgender and non-binary singers expose both the “cracks” in and the potential harms of essentialist sex-based frameworks. Drawing on recent work in vocal science and gender-affirming voice training, I argue for a constructivist vocal pedagogy that centers singer agency, health, and collaboration—flexing technique and assessment to support authentic, self-congruent singing without sacrificing musical rigor." (Stapleton, 2026)
Formations & Main Takeaways
Once sections are determined, it’s extremely important to figure out a good standing arrangement. The wrong standing arrangement can publicly out a transgender student, make them extremely uncomfortable, and draw public attention to the singer.
“While the director reluctantly agreed to let Mel wear a dress for the concert season, the SATB choral formation he selected caused a measure of anxiety for Mel during performances:
‘And so there I was, on the far end of the basses, the only person in a dress. And so I wasn’t really happy with that. In the winter concert, we did a processional and it was girls on one side and guys on one side. I had to be with the guys because I was standing on the guys’ side. That put me in kind of an awkward situation because it was possible that somebody could hear, ‘Oh my gosh, that girl is not singing soprano or alto. She’s a bass. So maybe she’s not a she.’ It was very awkward.” (Bartolome, 2016, p. 37).
By simply altering the standing arrangement, the director in the aforementioned example could easily have prevented this experience. The “perfect” standing arrangement is not going to exist that suits the needs of every choir. Directors can be creative in how they change their standing arrangements.
For example, if a trans student is in the Soprano section wearing a tuxedo as their uniform, consider using a Soprano Tenor Alto Bass (STAB) formation, in which the trans student stands next to a tenor. The goal is to minimize as much attention being called upon the trans singer as possible. Let them feel comfortable and blend into the ensemble, just like any other singer.
Main Take-Aways:
•Avoid gendered language in rehearsals and when discussing voices.
•Avoid naming choirs with gendered language such as "Men's Choir" or "Women's Choir". Use Treble Choir, Tenor/Bass Choir, or something else creative.
•Student comfort level is paramount, triggering gender dysphoria is not worth it for a slightly better sound.
•Set the student up for success if singing in a different voice part. It is probably easier for a Bass to sing Alto I than Soprano I.
• Be mindful of uniforms in standing arrangements. If a student is standing alone, wearing a dress in the middle of a group of tuxes, they can instantly be publicly outed.
•Change your standing arrangements so that trans students can easily blend in and don’t have unneeded attention brought on them.
•Recognize that just like cisgender singers, trans singers’ voices are extremely personal to them. Some may be dysphoric just from their voice alone. Maintain a warm, friendly, and relaxed demeanor to make the student comfortable.
•Respect the student and communicate that respect during this process.
•Familiarize yourself with Dr. Hirner's line recombination and Flexible Fach methodologies to provide a better environment for your TGE singers.
Effects of Hormone Replacement Therapy (HRT) on the Voice:
Typically, instead of being prescribed hormones, trans people who are under the legal age of consent will take puberty blockers, also known as gonadotropin-releasing hormone (GnRH) analogues, which effectively press pause on puberty. While there are other physical changes, the only vocal effect is the prevention of the voice change/lowering in those assigned male at birth. When puberty blockers are discontinued without any other hormones added, puberty will resume as normal. (Mayo Clinic Staff, 2019).
While it is unlikely that a student in middle school or possibly high school will be prescribed hormones as a minor, it is not unheard of. However, such gender-affirming care, though crucially important (and now with quite a substantial set of scientific and medical data highlighting its benefits) is under attack across the United States. As of September 2026, approximately 27 states have introduced or passed legislation that prohibits gender-affirming care for minors. Local context will affect whether TGE students will be able to access hormones.
Hormones have a vast array of effects. For trans women or girls assigned male at birth (AMAB), who wish to take hormones, estrogen and anti-androgen are typically prescribed. In some cases, progesterone will be prescribed. Regardless of the hormones prescribed and being taken by trans women, once the voice has gone through a testosterone-mediated puberty, no amount of HRT will reverse the process (Sims, 2017).
If a trans woman or trans feminine person wishes to feminize their voice, they will need to do so with manual manipulation and training. “Often a speech therapist will be needed because fundamental frequency and resonance changes will likely be necessary.”(Sims, 2017, p. 374)
For trans men or trans masculine people, those assigned female at birth (AFAB), who wish take hormones, testosterone or "T" is prescribed and administered via injection. The effects of testosterone on the voice can be swift. For an aural and visual example, check out this video of a trans man going through 4 ½ years of testosterone therapy in 1 minute. Listen carefully to the vocal differences.
Dr. Loraine Sims, the former Professor of Vocal Pedagogy at Louisiana State University (also my former professor) published a case study about Lucas (Sims, 2017). Lucas was a trans-identifying student who began testosterone therapy while Dr. Sims instructed him in vocal lessons, collected data, and had him "scoped" to document vocal fold changes in video format. Before testosterone therapy began, Lucas’s voice type was best described as a soprano. The following is a general overview of some of her results:
6 Weeks On T:
“[The] lesson began with Lucas saying that he was frustrated with his voice. He reported that he felt as though it hard to produce a clear tone. What happened in the initial exercise was that it appeared to be mixing stronger in the primo passaggio than previously...For the first time, the voice dropped all the way to C3 in the chest voice. This range was a minor third lower than any previous lesson” (p. 369).
5 Months On T:
By month 5, Lucas began warming up in the tenor range with falsetto production “very weak.” Getting lower in the range, “the timbre of these notes was a bit stronger than typical falsetto, but still not like the usual mezzo soprano mix in that range. We had to police the larynx so that he did not simply raise the larynx rather than allow the voice to turn over as he reached the upper limit. In this way, it was similar to training all young tenors.” (Sims, p. 371)
1 Year On T:
“After a year, the singing voice was trained like any tenor. Minor acoustic adjustments were needed due to higher than average formant frequencies. If an FtM trans singer had a lower range before testosterone, you might expect the result to be a baritone.” (Sims, p. 373)
2 Years on T:
“The quality and range changes owing to testosterone treatment were that the chest voice range increased and the soprano range was drastically diminished. Falsetto/head production was unavailable for a while, but became a viable option in limited range. Tenor production continued to be the preferred timbre for two years.” (Sims, p. 373)
2 ½ Years on T:
“After two and a half years, Lucas also has access to a lovely countertenor.” (Sims, p. 373).
This case study was one particular individual. Just like with every singer, the voice change is going to be unique to that person.
Anecdotally, while I was teaching private voice to a transman in his mid 30’s, undergoing the first year of testosterone therapy, I couldn’t help but note how similar the experiences he was going through (ex: voice cracks, lack of falsetto, random breathiness and loss of sound/control) were similar to those experienced by the middle school tenors and baritones I had worked with.
Peter Fullerton and Ari Agha are two trans individuals whose work more fully explores the effects of testosterone on the singing voice, additionally grounded in their own lived experiences with T.
Main Take-Aways:
· Puberty blockers primarily pause puberty for those (few) TGE youth who are placed on them.
· Estrogen/Anti-Androgen will not undo a testosterone-mediated puberty process on the voices of trans women.
· Testosterone treatments for trans men can quickly affect the voice, lengthening the vocal folds, creating similar problem areas as cis adolescent tenors/baritones including a lowering of the speaking/singing pitch, voice cracks, unavailable head voice production, and an increased chest voice range with a lowered head voice range.
· HRT is not a decision that trans people take lightly. For many trans people, any medical step taken is very personal and they are not required to share it with you. You can always give the option in a friendly way: “If you want, let me know if you start taking hormones, because your voice can do some funky things and I can help you navigate that!”, but do not pressure the singer to disclose if they're uncomfortable. While knowing the information can help you, medical information, at the end of the day, is private.
Alterations of Gender Expression that Can Affect Vocal Pedagogy:
Gender expression is an important facet of life for transgender people. Many are able to better able present their gender identity by altering what they wear, how they speak, walk, behave, or carry themselves. Even small changes can be the difference between experiencing dysphoria and euphoria.
Sometimes, these alterations of gender expression can have an adverse effect on vocal pedagogy or the singing process without realization by the teacher and sometimes even the student. These alterations can be external, stemming from clothing or worn items, to internal, stemming from purposeful alterations to one’s usage of the body.
One of the most common forms of internal alterations of gender expression comes from altering the pitch of one’s voice. This can be a critical aspect in a trans person’s life, as some may desire to speak with a higher, more “feminine” pitch, while others may desire to speak lower with a more “masculine” pitch. These pitch alterations, especially when done unhealthily or without speech therapy or an understanding of the vocal mechanism, can cause issues like laryngeal fatigue and increased tension in the voice. These can lead to vocal issues for speaking or singing and may prevent the singer from doing either.
Teachers should work with their transgender singers individually to coach them through laryngeal relaxation and semi-occluded vocal tract (SOVT) exercises. One great strategy educators can use is to have students find a private area that is soundproofed or dampened (e.g., the inside of a practice room, a car, or while at home alone) and use these exercises. Letting students alleviate their laryngeal fatigue will help them preserve their voices and give them time to rest. Increased water intake and longer periods of vocal rest will also be extremely beneficial.
External gender expression alterations relate mostly to what a trans singer is wearing. These alterations can alter the body to accentuate or deemphasize parts of the body.
For example, “Breasts are of particular importance to transgender individuals because they are viewed as an external indicator of gender...Individuals in the transgender population often change their breast anatomy and physiology to achieve an aesthetic more congruent with their gender identity” (Maynock & Kennedy, p. 75).
Trans men or trans masculine people commonly alter their expression through the technique of binding to minimize the appearance of chest (the word breast may evoke dysphoria) tissue to appear more masculine. Binding can be done in numerous ways. Some may use ACE wrap bandages, tape, or other material, while others will purchase or make their own binders.
Binding has potential health outcomes that can affect singing. Those who bind have reported health outcomes from binding that can ultimately affect their singing ability including pain (chest, shoulder, back, abdominal), respiratory (cough, respiratory infections, shortness of breath), musculoskeletal (bad posture, rib or spine changes, rib fractures, shoulder joint ‘popping’, muscle wasting) neurological (numbness, headache, lightheadedness or dizziness), gastrointestinal (digestive issues, heartburn), general (fatigue, overheating, weakness) or some kind of skin/tissue issues (Peitzmeier et al., 2016).
All of these specific health outcomes can negatively affect singing in some way, particularly those affecting posture and breath. These are all examples of areas your trans singer may struggle with due to their binder. It should be noted that in this same study, respondents overwhelming reported binding to be more beneficial despite negative outcomes:
“Although binding is associated with many negative physical health outcomes, it is also associated with significant improvements in mood and mental health. In response to open-ended questions about mental health effects and motivations for binding, participants consistently affirmed that the advantages of binding outweighed the negative physical effects. Many participants said that binding made them feel less anxious, reduced dysphoria-related depression and suicidality, improved overall emotional wellbeing and enabled them to safely go out in public with confidence” (p. 73).
Transgender individuals should ideally work with a medical provider while binding and familiarize themselves with the risks and potential negative outcomes alongside the positive. While music educators are not healthcare professionals, and as such cannot offer professional medical advice, the medical doctors who conducted the above study (Peitzmeier et al., 2016) have stated that it is possible to “reduce negative outcomes associated with binding by recommending ‘off-days’ from binding when possible, avoiding elastic bandages, duct tape and plastic wrap as methods for binding and using caution with commercial bindings” (p. 74). This advice may temporarily assist with alleviating discomfort until a trans singer can see their healthcare provider.
It should also be noted that just as you would probably not ask a cisgender person about their underwear, asking about a trans person’s binder can be seen as an invasion of privacy. Have the necessary information on standby for both you and your trans student who may be using a binder.
Corsets and waist trainers are similar to binders, but while binders are worn on the upper chest, waist trainers are worn down on the lower to midsection of the abdomen. “The biggest difference between corsets and waist trainers are the materials used. Waist Trainers have breathable fabrics such as nylon and spandex with flexible spiral plastic boning while corsets have rigid, unbreathable materials such as leather with inflexible steel boning and tight lacing. Another difference is that some waist trainers do not go up the torso as high as a corset" (Inselman, 2018).
These garments, while likely less prevalent than binders, are sometimes worn by transfeminine individuals who wish to feminize the waist shape, creating curves in their body. Though more research is required on the effects of corsets and waist training on singing, it should be noted that aggressively wearing a corset or waist trainer, can cause organ redistribution, shifting of bones, back pain, respiratory difficulties, and digestive issues.
If a trans individual makes the decision to wear a corset or waist trainer, it is crucial to find the correct size, wear it for limited spaces of time, and perform stretches and deep breathing after removal (Inselman, 2018).
Main Take-Aways:
· There are various ways that singers can alter their gender expression, some more subtle than others.
· Transgender singers may manually alter their speaking and singing pitch to sound more masculine or feminine, which can cause laryngeal fatigue.
· Binders are typically worn by trans men or transmasculine individuals to reduce the appearance of chest tissue.
· Binders can have health outcomes that can negatively affect singing in different ways, but ultimately provide numerous positive mental health outcomes.
· Trans people ideally should seek medical advice from a healthcare professional when it comes to binding, however more information can be found online.
· Taking days off from binding can provide some relief for trans singers who are experiencing negative effects.
· Corsets and waist trainers can negatively affect one’s health and singing, especially when worn for too long, or the incorrect size is used.
· It is imperative that trans women or transfeminine singers who wear corsets limit their time spent wearing them, and perform stretches and deep breathing after removal.
Singing Strategies for the TGE Singer
Many of these aspects are completely achievable with the TGE singer, but certain considerations need to be made. For example, as mentioned above, if a singer is wearing a binder or waist trainer, there is a chance that their posture or respiratory function will be negatively impacted (Peitzmeier et. al, 2016).
Vocal music educators can still teach singers to take low, proper breaths or stand with good posture, but should be mindful that their maximum breath capacity or “best posture” might be slightly limited due to binders or waist trainers. Strive to attain the best posture and breath as possible, as long as it remains comfortable to the student. Singing with binders and waist trainers is an area that ultimately still requires more research to fully understand their impact.
A common issue trans singers face is laryngeal fatigue. By changing the way they speak or sing, singers can add tension or exhaust the vocal folds.
“Melanie also began to experiment with her speaking voice, cultivating what she considered a more feminine sound and inflection. She told me, ‘I talk a lot with a higher larynx. I tend to do that just to be more ‘passable’, for people not to recognize. It has actually caused some vocal issues for my own singing, but if I bring my voice down back to its natural resonance, people will perceive me as being male.” (Bartolome and Stapleton, 2017, p. 126)
Singers can relieve the tension by using different laryngeal relaxation exercises. Yawn sighs into the chest voice can help, as can a return to speaking in the most “natural” speaking voice. Other techniques for laryngeal relaxation include using semi-occluded vocal exercises (v’s or other voiced consonants, lip trills, humming, etc. especially on descending lines. One exercise recommended by vocal scientists is Ingo Titze's vocalizing through a straw technique.
Educators should also use any range extending exercises with their TGE singers that can help strengthen the “outer edges” of the voice. For those assigned male at birth, work on developing the head voice (the word falsetto need not be used as it can evoke dysphoria for trans women--though for trans men it may be euphoric) to be clear and strong.
Likewise, exercises that strengthen the passaggio can be quite beneficial. For those assigned female at birth, work to strengthen and develop their chest voice. If they are starting, or planning to start, testosterone therapy, the voice is going to rapidly shift and develop, similar to an adolescent male. Educators should also remember that a higher pitch does not mean a forgoing of resonance work. As the singer continues to grow and develop their voice, try to find healthy ways to similarly develop resonance in the sound.
Main Take-Aways:
•Continue to work towards a healthy vocal production while helping the singer achieve a range that can work for both your and their needs.
•Enforce elements of good singing technique and make minor adjustments as needed for the singer’s comfort depending on if they are wearing a binder or waist trainer. More research needs to be done in this area.
•Familiarize yourself with laryngeal relaxation exercises that can help a trans singer relieve tension in the voice.
•Vocal rest and drinking water are great ways to help the singer recover.
•Work the outside ranges of the voice, specifically strengthening the head and chest voice.
•Simply changing the pitch does not mean the work is done. Find ways to increase resonance in your singer in a healthy way.
A Small Note About Choral Programming
When selecting choral music, be mindful of programming. Select literature from composers of various identities and backgrounds. Seek out pieces that you wouldn’t “ordinarily do”. Be mindful of the text and subject matter of the piece. How will this relate to your TGE and LGBTQ+ students? How will it relate to your students of color? How will it relate to your students of various religions? Keep these things in mind as you approach concert seasons. Find ways to showcase music from people of all walks of life, and purposefully champion the works of marginalized voices in the field.
Your students may or may not appreciate it in the moment, however by doing so, you provide them a more holistic, well-rounded music education.