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(Trans)itioning voices: gender expansive vocal pedagogy and inclusive methodologies for choral directors and teachers of singing

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(Trans)itioning voices: gender expansive vocal pedagogy and inclusive methodologies for choral directors and teachers of singing

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Content (TRANS)ITIONING VOICES:
GENDER EXPANSIVE VOCAL PEDAGOGY AND INCLUSIVE METHODOLOGIES
FOR CHORAL DIRECTORS AND TEACHERS OF SINGING
by
Stevie J. Hirner
A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
August 2024
Copyright 2024 Stevie J. Hirner

ii
EPIGRAPH
“Transgender [individuals] have spent their lives trying to be who they
are not, trying to act and talk like their gender assigned at birth... We are
helping to give voice to some tender and incredibly strong, courageous
individuals whose voices have been silenced for far too long.”
— Anita Kozan, “The Singing Voice,” p 332.

iii
DEDICATION
Dedicated with warmth and determination to the countless transgender
and gender expansive singers who are seeking authenticity, love, and
acceptance in their lives and in their music.

iv
ACKNOWLEDGEMENTS
I thank my dissertation committee, Dr. Emily Sung, Dr. Tram Sparks, and Dr.
Cristian Grases, for their unwavering guidance and support throughout this process.
To Dr. Sung, thank you for your understanding and active dedication to the
support of underrepresented communities and of my small part in that work.
To Dr. Sparks, thank you for being a shining example of everything I want to be
as an educator. Your kindness, talent, and strength will always inspire me. Thank you
for “practicing what you preach.”
To Dr. Grases, thank you for pushing me. Because of your encouragement over
the last three years, I have been able to share my research with countless allies across
the country and the world.
I thank Professor Lynn Helding for sharing her passion for vocology and for
holding me to her exceedingly high expectations for this work.
I want to thank all of my influential teachers and mentors in my life that have
inspired me to become the best musician and educator I can be, especially Mrs. Kelli
Greer, Mrs. Lara Rowland, Dr. William Powell, Dr. Rosephanye Powell, Dr. R. Paul
Crabb, and Professor Larry Livingston.
I would also like to thank Mr. Stan DeWitt and the Long Beach Youth Chorus for
supporting me throughout my DMA studies. Your kindness and enthusiasm for this
organization helped me persevere when the weight seemed too heavy.
And of course, I want to thank my parents: my mom for instilling in me a love of
music through her singing and piano playing while I was growing up and my dad for
providing support in countless ways throughout this journey. I love you both!

v
TABLE OF CONTENTS
Epigraph ..............................................................................................................................ii
Dedication ..........................................................................................................................iii
Acknowledgements ............................................................................................................ iv
List of Tables .................................................................................................................... viii
List of Figures..................................................................................................................... ix
Abbreviations ..................................................................................................................... xi
Abstract.............................................................................................................................. xii
Introduction .........................................................................................................................1
Methodology.................................................................................................. 2
Chapter 1: The Importance of Gender Inclusivity in Singing............................................. 5
Gender Expansiveness in Solo Singing.........................................................8
A Shift in Perspective ...................................................................................12
Gender Expansiveness in Modern-Day Choral Music ................................14
Psychosocial Impact.....................................................................................15
TGE-Related Vocal Transitions ..................................................................20
Masculinizing Hormone Replacement Therapy..............................22
Feminizing Hormone Replacement Therapy ..................................24
Chapter 2: Flexible Fach Gender Affirming Singing Protocol..........................................28
An Overview of Gender Affirming Voice and Communication
Therapy ............................................................................................30
Aesthetic Goals in Voice Masculinization................................................... 37
Aesthetic Goals in Voice Feminization ........................................................41
Existing Gender Inclusive Singing Methods .............................................. 45
Flexible Fach Gender Affirming Singing Protocol...................................... 47
General Vocal Health .......................................................................49
Assessment and Goal Setting........................................................... 51
Posture ............................................................................................. 54
Respiration.......................................................................................59
Voice Quality ....................................................................................64
Resonance ........................................................................................ 76
Chapter 3: Accommodating Vocal Transitions in Choir...................................................83
Codifying Line Recombination in Mixed-Voice Ensembles.......................84
Hypothetical Circumstances for Applying Line Recombination ....86
Example 1: Sicut Cervus by Giovanni Pierluigi da Palestrina.........89

vi
Example 2: Ave verum corpus, K. 618 by Wolfgang Amadeus
Mozart...................................................................................92
Example 3: “Warum,” op. 92, no. 4 by Johannes Brahms ..............96
Example 4: Gloria, No. II, “Laudamus Te” by Francis Poulenc .....99
Example 5: “The Seal Lullaby” by Eric Whitacre ...........................101
Additional Considerations in Mixed-Voice Ensembles............................ 103
Unison ............................................................................................ 104
Example 6: Messiah, “Chorus: For Unto Us a Child is
Born” by George Frideric Handel............................ 104
Melismas ........................................................................................ 106
Ostinatos ........................................................................................ 108
Example 7: Elijah Rock by Moses Hogan........................... 108
Texture and Orchestration..............................................................110
Example 8: Messa da Requiem, “Libera Me” by
Guiseppe Verdi..........................................................110
Contemporary A Cappella............................................................... 111
Example 9: “Somebody to Love” by Freddie Mercury,
arr. by Vince Peterson...............................................112
Exploring Line Recombination in Part-Specific Ensembles ..................... 114
Examples 10 and 11: If Ye Love Me by Thomas Tallis
and What Ails My Darling? by Morley....................115
Recombination in Low-Voice Ensembles.......................................119
Examples 12 and 13: “The Prisoner’s Chorus” by
Ludwig van Beethoven and “For He is an
Englishman” by William Gilbert and Arthur
Sullivan .....................................................................119
Example 14: “Zigeunerlied” by Felix Mendelssohn............ 122
Example 15: “One More Song” by Joe Liles ....................... 125
Recombination in Treble Ensembles............................................. 126
Example 16: “Vögelein durchrauscht die Luft” by
Johannes Brahms .....................................................127
Example 17: Ave Maria by Johannes Brahms ................... 129
Example 18: When the Earth Stands Still by Don
Macdonald ............................................................... 130
Conclusion........................................................................................................................133
Glossary ........................................................................................................................... 142
Bibliography .................................................................................................................... 149
Appendices ...................................................................................................................... 158
Appendix A — Scan of Hirsch’s Acoustic Assumptions............................ 158
Appendix B — The Complete Flexible Fach Gender Affirming Singing
Protocol developed by Stevie J. Hirner ......................................... 160
Appendix C — Voice Self-Assessment for TGE Singers............................. 171
Appendix D — Assessment Rubric developed by Stevie J. Hirner............172

vii
Appendix E — Sample New Singer Questionnaire developed by
Stevie J. Hirner ...............................................................................174
Appendix F — Line Recombination in Mixed-Voice Ensembles:
A Summary......................................................................................176
Appendix G — Example of Complete Recombined Line ...........................177

viii
LIST OF TABLES
Table 1.1: Recreation of “Table 8-4. Psychological issues in TF/TM Transition and
Voice Disorders”......................................................................................................17
Table 1.2: Consolidation of frequency and pitch data regarding average speaking
fundamental frequencies and potential extent of lowering as a result of
masculinizing HRT................................................................................................. 24
Table 2.1: Graphic depiction of formant frequency manipulation “rules”....................... 36
Table 2.2: Recreation of “Table 9-3. Mean F0 of Cis Men Across Languages”................ 39
Table 2.3: Voice masculinization and neutralization .......................................................40
Table 2.4: Voice feminization goals ...................................................................................41
Table 2.5: Flexible Fach Gender Affirming Singing Protocol (FFP), An Outline.............48
Table 2.6: Consolidation and reformatting of the vocal health program outlined by
Adler and Antoni....................................................................................................50
Table 2.7: Assessment and Goal Setting for Flexible Fach............................................... 52
Table 2.8: Exercise Table A. Posture ................................................................................ 58
Table 2.9: Exercise Table B. Breathing ............................................................................. 61
Table 2.10: Distribution of binding practices ...................................................................62
Table 2.11: Self-reported health outcomes of binding......................................................63
Table 2.12: Voice Ranges Derived from Vocal Literature................................................. 65
Table 2.13: Exercise Table C. Onset, Articulation, and Phonation, Part 1 ....................... 70
Table 2.14: Exercise Table C. Onset, Articulation, and Phonation, Part 2....................... 74
Table 2.15: Exercise Table D. Resonance, Part 1 .............................................................. 78
Table 2.16: Exercise Table D. Resonance, Part 2.............................................................. 81
Table 3.1: Registration Events Across Voice Types. .........................................................86
Table 3.2: Standard Barbershop Ranges by Voicing .......................................................125

ix
LIST OF FIGURES
Figure 1.1: Photos of Julian Eltinge as a woman (left) and as a man (right). .................. 10
Figure 1.2: Photo of Vesta Tilley ........................................................................................ 11
Figure 3.1: Measures 13-18 of Sicut Cervus with recombined line. .................................90
Figure 3.2: Measures 19-24 of Sicut Cervus with recombined line.................................. 91
Figure 3.3: Measures 1-18 of Ave verum corpus with an alto-dominant recombined
line .......................................................................................................................... 93
Figure 3.4: Measures 1-18 of Ave verum corpus with a tenor-dominant recombined
line. .........................................................................................................................94
Figure 3.5: Measures 1-18 of Ave verum corpus with a neutral recombined line. .......... 95
Figure 3.6: Measures 8-14 of Vier Quartette, op. 92, no. 4, “Warum” with a neutral
recombined line...................................................................................................... 97
Figure 3.7: Measures 24-25 of Vier Quartette, op. 92, no. 4, “Warum” with a
neutral recombined line.........................................................................................98
Figure 3.8: Measures 75-85 of “II. Laudamus Te” with a neutral recombined line. ..... 100
Figure 3.9: Measures 23-31 of “The Seal Lullaby” with a neutral recombined line....... 102
Figure 3.10: Measures 12-26 of Messiah, No. 11, “Chorus,” tenor and alto lines,
annotated.............................................................................................................. 105
Figure 3.11: Measures 73-79 of Messiah, No. 11, “Chorus,” with alto-dominant
recombined line.................................................................................................... 107
Figure 3.12: Measures 15-16 of Elijah Rock, two options for alto-dominant
recombined lines .................................................................................................. 109
Figure 3.13: Messa da Requiem, No. 7, “Libera Me,” tenor and alto lines,
Rehearsal F............................................................................................................ 111
Figure 3.14: Measures 16-22 of “Somebody to Love” ...................................................... 113
Figure 3.15: If Ye Love Me by Thomas Tallis ................................................................... 117
Figure 3.16: Measures 1-19 of “What ails my darling,” from Canzonets: Songs to
Three Voices by Thomas Morley...........................................................................118

x
Figure 3.17: Measures 129-33 of Fidelio, Act I, No. 10, Finale “Prisoners’ Chorus,”
by Beethoven ........................................................................................................ 120
Figure 3.18: Measures 117-26 of H.M.S. Pinafore, Act II. No. 18, “For He is an
Englishman,” by Gilbert and Sullivan; unison tenor/bass with recombined
line by Stevie J. Hirner......................................................................................... 122
Figure 3.19: Measures 1-43 of Vier Lieder, Op. 120, No. 4 “Zigeunerlied,”................... 123
Figure 3.20: Measures 1-4 of One More Song, arranged for “male” and “female”
voices. ................................................................................................................... 126
Figure 3.21: Liebeslieder-Walzter, Op. 52, No. 13, “Vögelein durchrauscht die
Luft,” by Brahms; soprano and alto with recombined line by Stevie J.
Hirner. .................................................................................................................. 128
Figure 3.22: Measures 72-84 of Ave Maria, Op. 12, by Brahms; soprano and alto
with recombined line by Stevie J. Hirner. ........................................................... 130
Figure 3.23: Re-engraving of measures 1-5 of When the Earth Stands Still for
SSAA Chorus by Don Macdonald with lowest voice in Lyyra transcribed by
Stevie J. Hirner...................................................................................................... 131

xi
ABBREVIATIONS
8va/8vb — octave above and octave below, respectively
AFAB — Assigned Female at Birth
AMAB — Assigned Male at Birth
CT — Cricothyroid
F1, F2, F3… — Formant 1, Formant 2, Formant 3…
FFP — Flexible Fach Gender Affirming Singing Protocol
FTM — Female-to-Male
f0 — Fundamental Frequency
GAVCT — Gender Affirming Voice and Communication Therapy
HRT — Hormone Replacement Therapy
L-MRVT — Lessac-Madsen Resonant Voice Therapy
MTD — Muscle Tension Dysphonia
MTF — Male-to-Female
SLP(s) — Speech Language Pathology, or Pathologist(s)
SOVT/SOVTE — Semi-Occluded Vocal Tract; Semi-Occluded Vocal Tract Exercises
TA — Thyroarytenoid
TGE — Transgender and Gender Expansive

xii
ABSTRACT
This dissertation contains gender affirming singing practices for choral directors,
teachers of singing, and transgender and gender expansive (TGE) singers. The two
methodologies developed by the author, the “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. The process of line recombination is codified through examples from common
choral repertoire that present a variety of circumstances and challenges that
demonstrate the methodology in mixed-voice, treble, and low-voice ensembles. With
these practices, choir directors and teachers of singing will be better equipped to
support their transgender and gender expansive singers through their vocal transition.

1
INTRODUCTION
In many singing communities in recent years, the inclusion of transgender and
gender expansive (TGE) individuals has become a more visible and increasingly
discussed topic in both national and regional conferences of professional choral and
teachers of singing organizations (see the Glossary for definitions of terms that are
italicized in the body of the text, or click the italicized term to navigate between its
location in the text and the definition). Topics discussed frequently include terminology,
vocal changes due to hormone replacement therapy (HRT) along with suggestions for
working with TGE singers, and logistical accommodations that choral directors can
employ in their classrooms such as inclusive choral attire and identity-affirming choral
placement.1 Recent books such as Honoring Trans and Gender Expansive Students in
Music Education, written by TGE allies Drs. Joshua Palkki and Matthew Garrett, and
Queering Vocal Pedagogy by William Sauerland contain discussions on several such
accommodations.2 However, apart from these worthy topics of discussion, there is still a
need for actionable, science-informed protocols and practices developed by TGE
communities themselves that address the vocal needs of TGE singers in choral
ensembles.
In this dissertation, I am building upon my research into “line recombination,” a
codified set of guidelines to assist TGE singers in choral ensembles that was published
1 While these topics are not the primary focus of this discussion, they are worthy of further exploration.
See the following references for additional information and current research for more information:
Christopher Cayari, “Demystifying Trans*+ Voice Education: The Transgender Singing Voice
Conference,” International Journal of Music Education 37, no. 1 (December 2, 2018): pp. 118-131, doi:
10.1177/0255761418814577; Joshua Palkki, “Inclusivity in Action: Transgender Students in the Choral
Classroom,” The Choral Journal 57, no. 11 (2017): pp. 20-35, https://www.jstor.org/stable/26412785;
Jason M. Silveira, “Perspectives of a Transgender Music Education Student,” Journal of Research in
Music Education 66, no. 4 (October 4, 2018): pp. 428-448, doi: 10.1177/0022429418800467.
2 Matthew L. Garrett and Joshua Palkki, Honoring Trans and Gender-Expansive Students in Music
Education (New York, NY: Oxford University Press, 2021).

2
in the November/December 2022 issue of the Choral Journal.3 This research furthers
the goal of a more inclusive choral environment through the recombination of vocal
lines. This approach facilitates repurposing principles similar to those employed for
cambiata voices in middle school classrooms and other such situations involving
revoicing an existing vocal line. When combined with a new gender affirming singing
protocol, line recombination helps to meet the vocal needs of transgender and gender
expansive singers in their ensembles who may be exploring a vocal transition, all
without compromising the singer’s vocal health or musical integrity due to the scienceinformed practices upon which line recombination is built. Normalizing the use of line
recombination and gender affirming vocal pedagogy will help TGE singers and singers
transitioning between voice parts to align their gender identity more fully with the
gendered connotations historically associated with their voice part.4
Methodology
This dissertation serves as guide to gender affirming singing practices for choral
directors, teachers of singing, and TGE singers themselves. Following a brief
introduction to TGE-inclusive terminology, the first chapter highlights the necessity of
empathetic practices in the teaching of singing. Gender expansiveness in singing and the
3 Much of the discussion related to TGE terminology and line recombination is reused material that was
first published in my article in the Choral Journal on the same topic—particularly the content related to
the following excerpts: Palestrina’s Sicut Cervus, Mozart’s Ave verum corpus, Brahms’ “Warum,”
Poulenc’s “Laudamus Te,” and Whitacre’s Seal Lullaby. Permission for the use of this material was
granted in writing by the American Choral Directors Association and Amanda Bumgarner, publications
editor. Stevie J. Hirner, “(Trans)itioning Voices: Inclusivity through Line Recombination,” Choral
Journal 63, no. 4 (November/December 2022), 6-23.
4 “Gender affirming” frequently appears in the literature as a hyphenated adjective. However, according to
the writing and style guidelines outlined by Johns Hopkins Medicine, “gender affirmation [contains] No
(sic) hyphen, including as a compound adjective, unless needed for clarity.” As such, the unhyphenated
iteration is the version used here. “John Hopkins Medicine Style.” Johns Hopkins Medicine (January 2,
2024), https://brand.hopkinsmedicine.org/writing-and-style-guidelines.

3
evolution of social perception of TGE individuals is discussed, particularly following
World War II. This is then followed by a discussion of the current sociological,
psychological, and physiological impact of gendered perception as it relates to the
support and acceptance of TGE singers in society. After an understanding of the impact
such factors may have on TGE singers’ voices, vocal transitions are discussed,
particularly those involving hormone replacement therapy and gender affirming voice
and communication therapy (GAVCT).
Chapter 2 begins with an overview of the aesthetic goals found in masculinizing
and feminizing GAVCT, followed by a discussion about existing research in the field of
TGE-affirming vocal pedagogy and an introduction to a new, science-informed singing
protocol I have developed that choir directors can use with their TGE singers called the
Flexible Fach Gender Affirming Singing Protocol. The basic tenets of gender affirming
care utilized in speech-language pathology (SLP; “SLPs” refers to the practitioners:
speech-language pathologists), particularly the techniques associated with
manipulating the source sound and resonance, are connected to the aesthetics and
gendered implications related to the German Fach system of classification in order to
develop gender affirming practices for vocal pedagogy. More specifically, conscious
manipulation of the interactivity of the vocal tract and the application of source-filter
theory provide a foundation for a protocol of exercises that are designed to help singers’
voices more closely align with a gender affirming aural aesthetic. This protocol provides
guidance that may assist such singers in altering the gender percept of their singing
voices, whether as soloists or to improve blend within their desired sections when
utilizing line recombination or singing another voice part altogether. Lastly, Chapter 3
consists of an expanded discussion on line recombination from what was originally

4
introduced in my 2022 article. After codifying the standardized principles of the
method, additional perspective is offered regarding specific challenges one might
encounter and how to approach inclusion in part-specific ensembles and music genres
to demonstrate the malleability of line recombination when applying the principles of
gender affirming vocal pedagogy.
Throughout this document, when referring to the extent of HRT’s effects on TGE
individuals (particularly masculinizing HRT), the context of the discussion refers only
to post-puberty adults due to a lack of research regarding the extent of gender affirming
HRT’s effects on pubescent-aged TGE singers. However, any singer can benefit from the
pedagogical principles found here, regardless of whether they are gender expansive or
not, because the protocols can easily be applied to anyone seeking to develop their voice
and are not solely applicable to TGE voices or HRT-related circumstances. Therefore,
this protocol can be utilized by individual singers themselves looking to develop a
specific aesthetic with their voices or by teachers of singing in their instruction of any
singer, regardless of voice type or gender identity. Choral directors can then use line
recombination in conjunction with the Flexible Fach Gender Affirming Singing Protocol
to nurture the vocal development of any TGE singer while also developing the
ensemble’s overall sound.
5
5 Although this protocol was designed to address challenges faced by the TGE community, the basic tenets
and exercises can be used by any singer to achieve a specific timbre as healthily as possible, regardless of
gender identity.

5
CHAPTER 1: THE IMPORTANCE OF GENDER INCLUSIVITY IN SINGING
In order to promote the use of inclusive language when discussing gender
expansiveness in singing, it is important to establish a few salient terms.1 This section is
not intended to be a comprehensive guide to TGE-inclusive terminology. Instead, the
concepts discussed here are those that are relevant to the introduction of the Flexible
Fach Gender Affirming Singing Protocol outlined in Chapter 2 and the exploration of
line recombination in Chapter 3. The first essential terms are the acronyms AMAB and
AFAB, which mean assigned male at birth and assigned female at birth and are gender
inclusive replacements for “male” and “female.”2 This delineation is important because
the individual’s sex assigned at birth does not necessarily coincide with their gender
identity. An individual whose gender identity aligns with the sex assigned to them at
birth is known as cisgender, while an individual whose gender identity is different from
the sex assigned to them at birth is known as transgender. When abbreviated to trans,
this can be used as an all-encompassing term for any individuals who are not cisgender.
However, it is important to note that individuals who are not cisgender may prefer a
term other than trans. So, it is always better to ask and never to assume. Gender
expansive is another phrase that is becoming more common and is used as an umbrella
term for individuals who broaden their own culture’s commonly held definitions of
gender, including expectations for gender expression, identities, roles, and/or other
perceived gender norms.3 Therefore, the entire phrase “Transgender and Gender
Expansive” (TGE) is used to represent as many individuals’ identities as possible.
1 Definitions discussed here are found in the Oxford English Dictionary, unless otherwise indicated.
Oxford English Dictionary: The Definitive Record of the English Language, (2020).
2 “PFLAG National Glossary of Terms.” (PFLAG, July 2019): https://pflag.org/glossary.
3 Ibid.

6
When referring to a woman who was assigned male at birth, the term trans
woman is typically applied, and a man who was assigned female at birth is referred to as
a trans man.
4 These terms used to be (and unfortunately still are in some cases) referred
to as “male-to-female” and “female-to-male,” or MTF and FTM, respectively. However,
these phrases are now considered insensitive, over-medicalized, and outdated, and they
should not be used.5 In the case of individuals that are not within the traditional gender
binary of “male” or “female,” often the term nonbinary is used.6 Nonbinary individuals
can be AMAB or AFAB or may be another gender that is neither male nor female.
Nonbinary individuals could identify with a combination of genders or have no gender
at all.
Before one can empathize with a TGE individual’s perspective, the concept of
dysphoria must first be considered. Gender dysphoria is a persistent dissatisfaction
with or distress related to one’s inner sense of self (gender identity) not aligning with
their sex assigned at birth, their physical appearance, and/or how their gender is
perceived by others.7 One potential manifestation of dysphoria that choir directors may
observe is vocal dysphoria, which means that the individual experiences distress related
to having a speaking or singing voice that does not align with what is expected of their
gender identity.8 For example, a trans woman may experience distress because they are
4 “Trans man” and “trans woman” frequently appear as compound words. However, according to the
Oxford English Dictionary, more recent scholarships separate the adjective “trans” from the noun being
described. Oxford English Dictionary: The Definitive Record of the English Language, (2020).
5 “PFLAG National Glossary of Terms.” (PFLAG, July 2019): https://pflag.org/glossary
6 “Nonbinary” also appears frequently as a hyphenated descriptor. However, the PFLAG National Glossary
of Terms does not include the hyphen, and that is the iteration used here. Ibid.
7 Jack Turban, “What Is Gender Dysphoria?,” American Psychiatric Association, November 2020,
https://psychiatry.org/patients-families/gender-dysphoria/what-is-gender-dysphoria.
8 For examples, see: Joshua Palkki, “My Voice Speaks for Itself: The Experiences of Three Transgender
Students in American Secondary School Choral Programs,” International Journal of Music Education,
38(1), (2020), 126–146. https://doi.org/10.1177/0255761419890946

7
assigned to sing in the baritone section, which is not a voice part that is traditionally
perceived as feminine. However, it is important to note that—while many TGE
individuals do experience some form of gender dysphoria—not all do. As such, whether
or not an individual experiences gender dysphoria is not a prerequisite to the validity of
someone’s TGE identity.9
Lastly, if an individual takes steps to present themselves or to experience the
world in a manner more closely related to their gender identity, this is known as
transitioning. Generally, there are three different categories of transitioning that
individuals may choose to undergo: social, legal, and medical. Social transition refers to
processes such as changing names or pronouns, how one dresses or acts, or one’s living
circumstances. A legal transition refers to changing one’s name or gender marker on
legal identification and any other necessary documents, and a medical transition refers
to hormone therapy or other medical procedures that alter the body physically to align
with one’s gender identity. It is important to note that not all individuals who are TGE
undergo any form of transition, often due to a lack of qualifying medical insurance or
financial resources rather than a lack of desire. Regardless, transitioning (whether
social, legal, or medical) is not essential in order for someone’s gender identity to be
valid. Simply put, the individual’s self-identification is sufficient to validate their
identity.10
9 Jack Turban, “What Is Gender Dysphoria?”
10 “PFLAG National Glossary of Terms.”

8
Gender Expansiveness in Solo Singing
Throughout history, variances in the gender expression of performers that have
fallen outside of the typical social expectations of the gender binary (and the performers’
assumed gender identity) are commonplace in music across time periods and genres. In
Western music, gender variance was most readily on display in the “trouser roles” found
in 17th- through 19th-century operas where roles depicting young boys were often
played by AFAB mezzo sopranos or some roles depicting women were performed by
AMAB countertenors.11 Granted, these are frequently considered to be examples of
varying gender expression rather than identity, but their mere existence indicates a
flexibility in the Western canon regarding the gender expectations of its musicians.
Outside a Western Classical context, variations in gender expression have been
present in popular music as well. The Ralph Judd Collection housed at the University of
Southern California’s ONE National Gay and Lesbian Archives illustrates this reality
through its vast compendium of sheet music, photographs, and iconography, which
features “male” and “female impersonators” who were renowned performers from 1890-
1930. This collection demonstrates the extent of gender expansiveness and widespread
acceptance and celebration of these performers in popular music, which stand in stark
contrast to the anti-LGBTQ policies, laws, and mindsets that permeate the latter half of
the twentieth century. Particularly following World War II, there was a notable shift in
society toward the rejection of such individuals rather than enjoyment both in music
and in society at large, and these conservative perspectives led directly to the conscious
and subconscious enforcement of a particular set of gender norms, thus creating an
11 Elaine Aston, “Male Impersonation in the Music Hall: the Case of Vesta Tilley,” (New Theatre
Quarterly 4, no. 15, 1988), 247.

9
environment where TGE individuals were no longer considered to be valid in their
expression. The impact of this shift is extensive and has penetrated every aspect of
society.
The context provided by this evidence, coupled with a statistical analysis of the
challenges that modern TGE individuals face, highlights the potential damage of
restrictive dress codes and related expectations on TGE singers who have historically
been forced to adhere to a particular set of guidelines rooted in white (European)
cisgender heteronormative (cishet) traditions. Despite the lack of representation
afforded to these individuals and subsequent visual “silencing” of their existence,
contemporary studies show that the number of TGE individuals is far greater than some
may assume. This indicates that—no matter the ensemble—it is a statistical nearcertainty that TGE singers are present in ensembles of all ages, demographics, and
ability levels. Therefore, the acceptance, recognition, and support of these individuals is
essential to their safety and social-emotional well-being, and if not taken into
consideration when developing policies or building an environment conducive to artistic
expression, choir directors are not fulfilling their responsibility to their singers as
stewards of the ensemble’s musical contributions because a singer’s well-being has a
direct impact on vocal production.
The subversion of gender expectations in performance is a well-documented
occurrence in the popular culture of Western culture in the late nineteenth and earlytwentieth centuries. Los Angeles was a particular hotbed for performances featuring
“male” and “female impersonators,” which were considered to be family friendly—an
interesting juxtaposition against the negative connotations associated with similar styles

10
of entertainment today.12 This is largely because the imposed connection between the
queer community and sexual deviancy or predatory behavior was not nearly as prevalent
until after World War II.13 Two of these impersonators stand above the rest in popularity
and acceptance: “female impersonator” Julian Eltinge (1881-1941), seen in Figure 1.1.,
and “male impersonator” Vesta Tilley (1864-1952), seen in Figure 1.2.
Figure 1.1: Photos of Julian Eltinge as a woman (left) and as a man
(right). “The image of him in a dress is from his hit vaudeville show The
Crinoline Girl in 1912. (Billy Rose Theatre Collection, The New York Public
Library for the Performing Arts, Astor, Lenox Tilden Foundations),” as
shown in Hurewitz, Bohemian Los Angeles, 28-9.
12 Lillian Faderman and Stuart Timmons, Gay L.A.: A History of Sexual Outlaws, Power Politics, and
Lipstick Lesbians, (New York: Basic Books, 2006), 17.
13 Ibid, 89; Daniel Hurewitz, Bohemian Los Angeles and the Making of Modern Politic, (Los Angeles:
University of California Press, 2007), 27.

11
Eltinge (which he would say rhymes with “melting”) was by far the most popular
of the female impersonators, likely due to his ability to sing in falsetto and “not [to]
mock an ideal of womanhood, [but to] embody it.”14 This is an important distinction
because by continuing to adhere to a socially acceptable interpretation of “woman,”
Eltinge was not viewed with disdain in the same way that others who may not “pass” as
well were received—similar to the negative perception of drag performers post World
War II, which were a parody of womanhood rather than a strict emulation.
Figure 1.2: Photo of Vesta Tilley, “1860 – 1920 Vesta Tilley,” Drag King
History, (November 28, 2021), https://dragkinghistory.com/1869-1920-
vesta-tilley/.
Similar to Eltinge, Vesta Tilley was equally adamant about her cisgender
heteronormative offstage life.15 By adhering to her “true sex,” Tilley set herself apart
14 Regarding pronunciation: Randy Dotinga, “A Century Ago, This Star ‘female Impersonator’ Made Men
Swoon,” The Washington Post (June 24, 2023). https://www.washingtonpost.com/
history/2023/06/25/drag-queen-julian-eltinge-broadway/. Quotation from Hurewitz, Bohemian Los
Angeles, 27.
15 Aston, Elaine. “Male Impersonation in the Music Hall: the Case of Vesta Tilley.” New Theatre Quarterly
4, no. 15 (1988): 248.

12
from other impersonators of the time because she wore wigs rather than cutting her hair
short and was “unequivocally and irrevocably, a ‘lady.’”16 Even though she was adamant
about being perceived as a woman, she began performing at a young age in London and
took advantage of her androgynous physique in order to bolster her career through her
ability to portray youthful masculinity.17
However, as social priorities shifted with the onset of World War I, the focus of
Tilley’s performances became much more serious representations of masculinity and
actually served as wartime propaganda at a time when the public was “not invited to
laugh at men’s weaknesses, but to support the ideology of heroism.”18 Because Tilley
became a representation of what it meant to be manly, she did not become a widespread
target of romantic desire as Eltinge was for his audiences. Where the acceptance of
Eltinge as a romantic interest was likely a result of the ambiguity of the subconscious
interpretation of his gender presentation, Tilley was not desired in the same way
because “androgynous appeal… links, threateningly and subversively, to images of
homosexuality. [Therefore], if a [man] were to concede the illusion and align the image
of a feminized male with the military… [he would be] threatened by homosexuality,
abhorred and punished as undermining the ‘macho’ image.”19
A Shift in Perspective
The days of celebrating impersonators in the early twentieth century drew to a
close with the rise of Freudian psychology and, eventually, World War II. Freud
recontextualized society’s correlation between psychology and sexuality, further
16 Ibid, 248.
17 Ibid, 248.
18 Elaine Aston, “Male Impersonation in the Music Hall,” 254.
19 Ibid, 255.

13
alienating practices outside of gender norms.20 As Prohibition ended, there was a
marked rise in police raids on underground bars and clubs that supported alternative
lifestyles, and this persecution eventually bled into the performance industry as well.21
Previously, performers were given subconscious leniency because the “threat” posed by
the subversion of gender norms was protected under the veil of the theater, but the
suspension of reality was not enough to overcome the deeply held beliefs of a woman’s
role that were highlighted by the changes in infrastructure that occurred in World War
II.22
This may be because, according to Lillian Faderman in Gay L.A., “When females
took on freedoms and responsibilities formerly relegated to males… many in the
postwar years [longed] for a return to an imaginary past, when all women were
homemakers and, ‘by nature,’ nurturers of men.”23 There was such vehemence directed
toward those attempting to exist outside of these norms that even the nature of gender
bending entertainment underwent a significant shift, and as a result, the sincere, familyfriendly “impersonations” by performers like Julian Eltinge gave way to the rise of the
“drag queen” as an exaggerated caricature that mocked the ideal of femininity.24 It is as
though gender expansive performance had found its own “uncanny valley,” and as a
result, performances had to be far removed from a passable expression of genderswapping in order to be palatable.
20 Elaine Aston, “Male Impersonation in the Music Hall,” 256.
21 Lillian Faderman, Gay L.A., 46.
22 Elaine Aston, “Male Impersonation in the Music Hall,” 248.
23 Lillian Faderman, Gay L.A., 89.
24 Daniel Hurewitz, Bohemian Los Angeles, 27.

14
Gender Expansiveness in Modern-Day Choral Music
In contrast to the gender fluidity of performers as observed early in the twentieth
century, the expectations of gender expression in choirs over the last seven decades is
steeped in framework of the gender binary. For decades, choral ensembles were
relegated to two general options for their singers: “women” (almost exclusively sopranos
and altos) in dresses and “men” (conversely: tenors and basses) in suits or tuxes—a
perfect mirror of the gender expectations enforced on society. Given the strict antiLGBT laws post-Prohibition and “professionalism” expectations set post-World War II,
American society was not conducive to deviation from these cisgender heteronormative
options. These socialized expectations of appearance were so deeply held that any
departure from them could risk being labeled as a sexual deviant, and as such,
experimenting outside of the norm became so taboo that far fewer performers indulged,
and fewer still embraced alternative identities despite gender expansive terminology
slowly being codified and developed.
It is truly striking: the juxtaposition of the fluidity of gender expression observed
in singing in the early twentieth century against the rigidity often observed in choral
music. “Eltinge’s success alone begins to reveal how different the start of the twentieth
century was from the middle of the century, or even our own time,” but this change
should not deter musicians from embracing alternative expressions in performance, to
say nothing of non-cisgender identities in day-to-day life.25 Fortunately, recent years
have seen a shift in mindset within the choral community to a more broadened
acceptance of varied expression in choirs, and more inclusive choral practices are in
25 Ibid, 30.

15
development to promote the support of a wide variety of gender identities and
expressions. This mindset shift is critical because modern research has shown that a
shift toward inclusive practices has the significant potential to save lives, as illustrated
by the discussion found in the introduction on the psychosocial challenges faced by the
TGE community.
Psychosocial Impact
Given the increased tumult in the journey toward social acceptance for TGE
individuals during the latter half of the twentieth century, significant considerations
must be made when weighing the importance of incorporating inclusive practices.
William Sauerland, EdD, one of the leading published scholars of trans voice pedagogy,
says in his book Queering Vocal Pedagogy:
“[t]eachers of singers know that singing emanates from the whole body, and our
musical and textual interpretations are often rooted in our sense of self and our
lived experiences. The whole person—including the physical, emotional, mental,
spiritual and psychological self—is not always considered in the teaching of a
singer.”26
If his claim is true (even for a relatively small number of instructors), then some
teachers tend to focus on technique, posture, and other external tangible factors without
taking into consideration what their student may be thinking, feeling, or experiencing.
These non-musical stressors may be impacting them both psychologically and
physiologically, and therefore, the need for conscious consideration of singers’
emotional well-being bears reiterating, especially regarding the TGE community and the
unique challenges they face. In the 2019 edition of Voice and Communication Therapy
26 Sauerland, Queering Vocal Pedagogy, 14.

16
for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide
(sometimes referred to here as the “clinical guide to GAVCT”), Anita L. Kozan (PhD,
CCC-SLP) offers the following encouragement:
“Transgender and gender non-binary singers will reach their greatest potential if
their vocal development is complemented with goals that take the whole person
into consideration… [and] the positive reinforcement of the clinician [or teacher]
can play a huge role in helping singers change their self-talk and ultimately
improve their self-image and confidence.”27
On the surface, this is common sense to most teachers. However, TGE individuals
navigate a world in which their very existence and validity is regularly called into
question, and as such, they are a particularly vulnerable group in society. In chapter
eight of the clinical guide to GAVCT, Richard K. Adler (PhD, CCC-SLP) and Christella
Antoni (MSC, MRCSLT) provide an illuminating chart of the direct negative impacts on
the voice that may result from psychosocial stress, the data for which was compiled over
twenty-five years of working with gender diverse clients (see Table 1.1).28 Based on this
information, a deeper understanding of the social undercurrents present in the
communities in which TGE individuals live and the direct impact their environments
have on them and the instruction they receive will better equip the singing teacher to
serve the needs of their TGE students.29
27 Anita L. Kozan and Sandra C. Hammond, “The Singing Voice,” Voice and Communication Therapy for
the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K Adler, Sandy
Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 328-9.
28 Richard K. Adler and Christella Antoni, “Vocal Health and Phonotrauma,” Voice and Communication
Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K
Adler, Sandy Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 138.
29 Sauerland, Queering Vocal Pedagogy, 12

17
Issue
TF/TM
[Transfeminine/Transmasculine]
Client’s Experience
Client is at risk for:
A. Fear Loss of job;
Loss of family;
Loss of friends; self-respect;
Loss of marriage
Muscle tension dysphonia
Conversion dysphonia or
aphonia
Chronic cough/damage to
the laryngeal tissue
Other psychogenic voice
disorders
B. Guilt Family strife;
Family is not accepting;
Rejection by the children or spouse
Muscle tension dysphonia;
chronic clearing of the
throat
C. Rage/anger At God; at family; at the “system,”
and at the children;
Anger at him or herself
Severe phonotrauma; poor
fundamental frequency
ratings; obtrusive yelling
or screaming
D. Denial “I just have a cold”
“My voice always gets this way.”
“I can still work, no problem”
Vocal nodules/polyps;
excessive throat clearing;
poor singing fundamental
frequency range
E. Depression/anxiety “I just can’t do this job anymore,”
“I am totally afraid to speak.”
Voice deteriorates;
Social isolation;
Lack of motivation to speak
or talk;
Less social—loses friends;
Voice seems always
fatigued
Table 1.1: Recreation of “Table 8-4. Psychological issues in TF/TM
Transition and Voice Disorders” from Voice and Communication Therapy
for the Transgender/Gender Diverse Client: A Comprehensive Clinical
Guide, p. 138.
According to a Pew Research Center survey from May 2022, 1.6% of adults in the
United States identify as transgender.30 1.6% may seem like a small, inconsequential
30 Anna Brown, “About 5% of Young Adults in the U.S. Say their Gender is Different from Their Sex
Assigned at Birth,” Pew Research Center, last modified June 7, 2022, https://www.pewresearch.org/facttank/2022/06/07/about-5-of-young-adults-in-the-u-s-say-their-gender-is-different-from-their-sexassigned-at-birth/.

18
number, but it is actually a similar percentage to the number of people with red hair,
which illustrates how common being transgender actually is.31 Furthermore, based on
the 2021 United States Census’ report, which states that the population of the United
States is 331.9 million (258.3 million adults), one can presume that there are
approximately 4,132,800 TGE adults in the United States. Perhaps more interestingly,
5.1% of adults under 30 years old identify as trans or nonbinary—a possible indication
that younger Americans are more readily embracing their identities due to the growing
acceptance of the trans community in society.32 Further illustrating this possibility, a
2022 report from the Williams Institute at the University of California Los Angeles
about TGE youth in America states that there are an estimated 300,000 children aged
13-17 who identify as transgender, with 49,000 of those being in California alone.33
Despite growing acceptance, the TGE community still faces an overwhelming
number of challenges. On the severe end of the spectrum, the Trans Murder Monitoring
project, which tracks and reports anti-trans violence globally, indicates that since 2008
when the project began, 4369 trans individuals’ murders were reported with 375 of
those occurring in the United States (almost 10% of the total count).34 Compounding the
damaging impact of such violence, 82% of transgender individuals report having had
suicidal ideation—particularly TGE youth. 40% of those have actually made attempts to
end their lives, which is approximately eight times the rate of their cisgender
31 Jaroslav Flegr and Kateřina Sýkorová, “Skin Fairness is a Better Predictor for Impaired Physical and
Mental Health than Hair Redness,” Scientific Reports 9, 18138. (2 December 2019), doi:10.1038/s41598-
019-54662-5.
32 William Sauerland, Queering Vocal Pedagogy, 16, offers similar support.
33 Jody L. Herman, Andrew R. Flores, and Kathryn K. O’Neill, How Many Adults and Youth Identify as
Transgender in the United States? (Los Angeles, CA: The Williams Institute, UCLA, 2022), 9.
34 “TMM Absolute Numbers (2008 – Sept 2022),” Trans Murder Monitoring, Transgender Europe and
Carsten Balzer, 2023, https://transrespect.org/en/map/trans-murder-monitoring/#

19
counterparts.35 Furthermore, the political climate in the United States is exacerbating
an already tenuous situation: the American Civil Liberties Union has reported that there
are 429 anti-LGBTQ+ bills that are currently in various stages of legislation.36
The impact of this harmful rhetoric is powerfully illustrated by the 2021 National
School Climate Survey, which surveyed 22,298 LGBTQ+ students in all 50 states.
According to the report, 81.8% of LGBTQ+ students feel unsafe or uncomfortable at
school due to verbal or physical harassment, with 43.2% and 40.3% feeling unsafe due
to their gender expression and identity, respectively.37 Across the country, only 16.2% of
students reported seeing any positive discussions or representations of LGBTQ+ people,
issues, and topics in their classes, mostly in English and social studies classes, and 71%
saw no representation whatsoever. However, in schools with LGBTQ+ inclusive
curricula, students experience 23% fewer slurs about their sexuality and 19% fewer
instances of bullying related to transgender individuals, and 13% fewer TGE students
felt unsafe because of their gender identities.38 The clear conclusion one likely draws
from this data is that consciously incorporating inclusive practices should be a priority
for all instructors because awareness, representation, and support have significant
potential to improve lived experiences of millions of people.
35 Ashley Austin, Shelley, L. Craig, Sandra D’Souza, and Lauren B. McInroy, “Suicidality Among
Transgender Youth: Elucidating the Role of Interpersonal Risk Factors,” Journal of Interpersonal
Violence, 37, no. 5-6 (2022): NP2696-NP2718, doi:10.1177/0886260520915554.
36 “Mapping Attacks on LGBTQ Rights in U.S. State Legislatures,” ACLU, accessed April 8, 2022,
https://www.aclu.org/legislative-attacks-on-lgbtq-rights.
37 Joseph G. Kosciw, Caitlin M. Clark, and Leesh Menard, The 2021 National School Climate Survey: The
Experiences of LGBTQ+ Youth in Our Nation’s Schools, (New York: GLSEN, 2022).
38 Ibid, xxi-xxii.

20
TGE-Related Vocal Transitions
Before incorporating inclusive practices, it is important to understand the variety
of transitions that TGE singers may choose to pursue and to challenge some of the
common misconceptions or misunderstandings that may lead a choir director to be
unsure about how to proceed if they have a TGE singer in their ensemble. For instance,
some believe that if a singer is undergoing hormone therapy, they will be unable to sing
well enough to participate in an ensemble because they can negatively impact the
corporate sound if they are allowed to sing in a section that is different than one would
expect of their sex assigned at birth (e.g., someone who was previously singing baritone
and wants to sing in the alto section). One incorrect belief about HRT’s effects on the
voice is that a TGE singer taking testosterone would never be able to sing like someone
who is cisgender. To address some of these misconceptions and to illustrate the
usefulness of these methods in assisting individuals seeking a vocal transition, a brief
introduction into some salient details regarding medical transition’s actual impact on
the voice is essential.
Since TGE individuals’ experiences vary, their challenges do not fall within a onesize-fits-all solution. Some may choose to pursue a variety of different social, legal, or
medical transitions to help alleviate their gender dysphoria, but transitioning is a
process that is not pursued by all TGE individuals.39 The decision to transition is an
extremely personal one, and the goals of social, legal, and medical transitions vary
greatly from person to person. That said, as a teacher of singing, the most common
transitions that one is likely to encounter when working with TGE students are social
39 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/

21
changes such as adjustments in appearance, name, and pronouns.40 These choices may
seem innocuous to a cisgender person and may appear to be inconsequential to the
responsibilities of a voice teacher. However, all transitions are deeply personal decisions
that should be actively supported by the teacher in order to create as safe an
environment as possible where students feel comfortable being themselves.
Additionally, some medical interventions that individuals may elect to pursue can
have a physiological impact on vocal production, e.g., hormone replacement therapy
(HRT), gender affirming voice and communication therapy (GAVCT), and gender
affirming surgery. As such, these concepts should be understood by singing teachers so
that they do not rely on their students to educate them.41 Typically, these medical
interventions come in two forms: masculinizing and feminizing. Obtaining a referral or
a prescription in order to pursue these interventions is frequently a challenging process
that usually involves the inclusion of mental health professionals, endocrinologists, and
other medical providers before medication, surgery or GAVCT will be considered—
particularly for trans youth, which is an under-researched demographic.42
40 “Social Transition.” (TransWhat? A Guide Towards Allyship, May 2023).
https://transwhat.org/transition/socialtrans.html
41 This is not a comprehensive list of potential medical transitions and their side effects as that is not the
primary focus of this article. Topics discussed here are to provide context for accommodations one might
make to the vocal lines in their repertoire.
42 The political and social landscape regarding trans-related issues in the United States is rather divisive,
particularly those regarding TGE youths’ access to HRT and other gender affirming resources and care. At
the time of writing, there are 532 anti-trans bills being considered across the United States according to
www.translegislation.com. There are several factors that contribute to the lack of research regarding
HRT’s effect on younger patients, but the medical and legal roadblocks to conduct such research are quite
limiting, therefore rendering the inclusion of pubertal HRT and its effect outside the scope of this paper.

22
Masculinizing Hormone Replacement Therapy
Masculinizing HRT involves introducing exogenous testosterone into the body,
which is the primary hormone responsible for masculinization.43 Individuals
undergoing this treatment will likely experience a number of emotional and physical
changes including, but not limited to, a narrower range of emotions or feelings; changes
in interests and pastimes; thicker and more oily skin with larger pores; acne;
redistribution of weight and fat into traditionally masculine locations; an increase in
muscle definition as well as facial and body hair with the potential for male-pattern hair
loss; and, most importantly for teachers of singing, a thickening of the vocal folds which
greatly impacts the individual’s vocal development and their speaking or singing
capabilities.44
The extent of vocal changes due to masculinizing HRT is largely dependent on
the age and vocal development of the individual when beginning treatment, but changes
in vocal production may begin rather quickly, manifesting as a scratchy sensation in the
throat or feeling of hoarseness. In the first two years, the individual will typically
experience the following additional changes to some degree, similar to pubescent
AMABs going through a testosterone-based puberty. 45
43 “Hormone Therapy.” (Hormone Therapy | Transgender Care, 2019).
https://transcare.ucsf.edu/hormone-therapy.
44 Tessa Romano. “The Singing Voice During the First Two Years of Testosterone Therapy: Working with
Trans or Gender Queer Voice,” (DMA diss., University of Colorado Boulder, 2018).
45 “Hormone Therapy.” (Hormone Therapy | Transgender Care, 2019).
https://transcare.ucsf.edu/hormone-therapy; Romano, “The Singing Voice During the First Two Years of
Testosterone Therapy: Working with Trans or Gender Queer Voices,”; Christie Block, Viktória G. Papp,
and Richard K. Adler, “Transmasculine Voice and Communication,” in Voice and Communication
Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K
Adler, Sandy Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 147.

23
1. More complete closure at the posterior end of the vocal folds due to the
thickening of the folds
2. Pitch “breaks” in both the speaking and singing voice
3. Voice “cracking;” quickness to vocal fatigue
4. Initial shrinking of range
5. Difficulty matching pitch for an extended period
6. Access to two separate “voices,” or ranges and registers:
a. A limited soprano register (Mode 2)
b. A “true” tenor or baritone register (Mode 1), depending on the
extent of the changes to the singer’s range
Generally, the voice will stabilize after those two years, but it can take up to six years
before it is fully stable.46 As outlined in Table 1.2, the average fundamental frequencies
(f0) of adult AMABs and AFABs are 85-180 Hz (approximately E2-F#3) and 165-255 Hz
(approximately E3-B3) respectively, the potential speaking ranges’ average overlap is
between 165-180 Hz (approximately E3-F#3). As a result, the voices of AFABs
undergoing masculinizing HRT usually settle in a speaking f0 range firmly within the
average AMAB’s range because they generally experience a lowering of approximately
60-70 Hz.47 In other words, if an individual’s speaking f0 is around B3 (247 Hz), their
speaking pitch may settle around F3-F#3 (175 Hz-185), but if their initial speech
frequency is on the lower end of the average AFAB range, say around F#3 (185 Hz), their
speaking f0 may settle as low as A#2-B2 (117 Hz-124 Hz).
However, due to a variety of factors like age, hormone levels, and laryngeal size
pre-transition, 21% of trans men may never reach a f0 within the 85-180Hz average, but
GAVCT can assist these individuals with further masculinizing their speaking voice.48
46 Romano, “The Singing Voice During the First Two Years of Testosterone Therapy: Working with Trans
or Gender Queer Voices,” 33.
47 Carolyn, P Hodges-Simeon, O. Grail Graham, Albert Graham, Matti D. Groll, Cara E. Stepp, Justin
Carré M., and Steven A. Arnocky. "Testosterone Therapy Masculinizes Speech and Gender Presentation in
Transgender Men." Scientific Reports (Nature Publisher Group) 11, no. 1 (2021), 1-2.
48 Ibid, 2.

24
Because the potential resonance capabilities of the vocal tract are rather fixed and HRT
does not have a notable impact on the length of a post-puberty AFABs’ vocal tract, it is
highly recommended that an individual seeking to masculinize their voice use GAVCT to
optimize the extent to which their vocal tract may be somewhat lengthened by
reposturing through laryngeal massage in order to work toward a “deeper” sound in a
healthy way without depressing the larynx and causing excess tension from
hyperfunction.49
Average Range of Fundamental Frequency and Approximate Pitch Correlations
According to Sex Assigned at Birth
Adult AMAB Average Fundamental Frequency 85-180 Hz (E2-F#3)
Adult AFAB Average Fundamental Frequency 165-255 Hz (E3-B3)
Range of Overlap between the Above Averages 165-180 Hz (E3-F#3)
Average Lowering of Fundamental due to
Masculinizing HRT
60-70 Hz (pitch correlation varies according to
initial fundamental; see below for examples)
Example 1: Higher AFAB Pre-Hormone
Fundamental and Potential Final Fundamental
Initial Fundamental: 247 Hz (B3)
Final Fundamental: 175-185 Hz (F3-F#3), Result:
Lowering of the interval of a tritone-P4
Example 2: Lower AFAB Pre-Hormone
Fundamental and Potential Final Fundamental
Initial Fundamental: 185 Hz (F#3)
Final Fundamental: 115-125 Hz (A#2-B2)
Result: Lowering of the interval of a P5-m6
Table 1.2: Consolidation of frequency and pitch data regarding average
speaking fundamental frequencies and potential extent of lowering as a
result of masculinizing HRT.
Feminizing Hormone Replacement Therapy
Feminizing HRT typically involves the use of two to three different types of
medications: anti-androgens (testosterone blockers, or “T” blockers), estrogen (the
49 Kimberly L. Dahl, Felicia A. Francois, Daniel P. Buckley, and Cara E Stepp, “Voice and Speech Changes
in Transmasculine Individuals Following Circumlaryngeal Massage and Laryngeal Reposturing.” ed. Rita
R Patel. American Journal of Speech-Language Pathology 31, no. 3 (May 2022): 1370.

25
primary feminizing hormone), and sometimes progesterone (a hormone typically
prevalent during pregnancy).50 Individuals undergoing feminizing HRT will typically
experience effects similar to masculinizing HRT, but on the opposite end of the
spectrum: a wider range of emotions; changes in interests and pastimes; thinner and
drier skin with smaller pores (thus more prone to bruising and cuts), and fat
redistribution in traditionally feminine locations (including some level of breast
development); loss of muscle mass and strength, and lessened body hair. Regarding
feminizing HRT’s effect on vocal production, certain anti-androgens, such as
spironolactone, are diuretics and can therefore have systemic dehydrating effects that
are likely to thicken the mucosa of the vocal folds, thereby possibly making phonation
more laborious and inefficient.51 This can easily be counteracted with conscious
hydration habits, however. As such, users of these types of medications should be
cognizant of water intake to avoid fatigue or tissue damage due to dehydration and
overexertion, but there are no known side effects to the voice due to the loss of
testosterone or the addition of estrogen in the body.52
Because of the lack of feminizing HRT’s effect on vocal production, post-puberty
AMABs who have a desire to feminize their voice may opt for surgical interventions, the
most common of which is an anterior glottal web formation.53 This procedure involves
creating a web or scar band at the front of the V of the vocal folds, shortening the length
of the vocal cords that are free to vibrate thus helping raise the speaking f0 and
50 “Hormone Therapy.” (Hormone Therapy | Transgender Care, 2019).
https://transcare.ucsf.edu/hormone-therapy.
51 Ibid.
52 “Spironolactone (Oral Route) Side Effects.” (Mayo Clinic. Mayo Foundation for Medical Education and
Research, October 1, 2020).
53 Ingo R. Titze, Anil Palaparthi, and Ted Mau, “Vocal Tradeoffs in Anterior Glottoplasty for Voice
Feminization,” Laryngoscope, 131, no. 5, (May 2021), 1082.

26
narrowing the airway to a small degree. As a result, this surgery might be less
appropriate for vocal professionals and perhaps serious athletes due to the potential
impact on the ease of respiration because of a smaller airway, but in coordination with a
singer’s medical team, singing may still be possible; more research is necessary to
determine the extent of this specific surgery’s effect on the singing voice, however.54
Overall, the extent of the effects of hormone replacement therapy on an
individual is largely contingent upon the age at which they begin treatment. However, it
is extremely rare to encounter a teenager who is undergoing HRT, whether
masculinizing or feminizing. Instead, the use of puberty blockers may be employed to
delay the onset of puberty until the family decides whether to proceed with HRT along
with a team of medical professionals.55 Because puberty blockers postpone the onset of
hormonal effects on the body, resonance may be impacted due to the delayed initiation
of development of the ribcage and skull. Despite this, it is important to note that
teenagers looking to transition socially or to sing in a different section, even if they are
not on HRT, can still benefit from the methods discussed here because it can provide a
healthy, gender affirming vocal line that may ease vocal dysphoria.
Because of the potential for expression and connection with humanity that the
arts facilitate, there exists an undeniable link between the need or desire for an artistic
outlet and the queer community. LGBTQ individuals have been persecuted throughout
history, particularly in Western society, and non-cisgender gender expressions and
identities are still actively under attack across the United States (even though there is
54 “Voice Feminizing Therapy and Surgery.” (Mayo Clinic. Mayo Foundation for Medical Education and
Research, September 28, 2019). Titze, et al., “Vocal Tradeoffs in Anterior Glottoplasty for Voice
Feminization;” Stevie J. Hirner, Interview with Felicia François, MS, CCC-SLP. Personal (March 2, 2023).
55 Jack Turban, “What Is Gender Dysphoria?”

27
evidence that—in relatively recent history—gender expansiveness was not synonymous
with danger or sexual deviance). TGE individuals continue to seek ways to validate their
gender identities, not just their gender expressions. Transgender individuals are an
inevitable part of humanity, not an aberration of it, and even before the term
“transgender” was added to the lexicon, they sought out spaces where they could be
themselves. Often creating these spaces themselves and sometimes at great personal
risk, the contributions that TGE singers have made and will continue to make are more
than worthy of acknowledgement, inclusion, and recognition.

28
CHAPTER 2: FLEXIBLE FACH GENDER AFFIRMING SINGING PROTOCOL
Going beyond the widely accepted six vocal classifications in Western music of
soprano, mezzo soprano, contralto, tenor, baritone, and bass, the state-run German
Fach (pl. fächer) system of voice categorization in opera contains an ever-evolving list of
approximately twenty-five different delineations of voice parts. These classifications
take into account defining character traits such as the physical and aural characteristics
of the voice—including range, tessitura, weight, and timbre in addition to physique and
behavioral expectations.1 The inclusion of these extramusical elements allows for
flexibility in voice classification, as one’s craft, technique, and physique may evolve over
time.2 The potential malleability of this comprehensive system of categorizing vocal
identities is an apt parallel to the evolution of the modern understanding of gender
identity, particularly as it relates to the flexibility and subjectivity involved when
connecting the finer details of one’s sense of self to the ways in which identity is
expressed.
In Western classical music, words such as “soprano” and “tenor” carry with them
undeniable gender-related connotations in modern society—arguably unnecessarily so,
especially when considering that countertenors often perform roles that are sometimes
sung by those assigned female at birth (AFABs) who are sopranos, mezzo sopranos, or
1 Pearl Yeadon McGinnis, The Opera Singer’s Career Guide: Understanding the European Fach System
(Lanham, MD: Scarecrow Press, Inc., 2010), 2-9; James C. McKinney, The Diagnosis and Correction of
Vocal Faults: A Manual for Teachers of Singing and for Choir Directors, (Long Grove, IL: Waveland
Press, Inc., 2005), 110-115; Richard Boldrey, Guide to Operatic Roles and Arias (Dallas, TX: Pst…Inc.,
1994), 1-30; Sandra Cotton, “Fach vs. Voice Type: A Call for Critical Discussion,” Journal of Singing 69,
No. 2 (November/December 2012), 153-166; Rudolf Kloiber, Wulf Konold, and Robert Maschka,
Handbuch der Oper (Kassel, Germany: Bärenreiter-Verlag, 2006).
The German theatre system has a history of state-run theater companies that are involved in the
contractual and legal enforcement of the fach system. A detailed overview of the history and evolution of
the German theatre system can be found in Carl Weber, “German Theatre: Between the Past and the
Future,” Performing Arts Journal, 13, no. 1 (January 1991), 43-59.
2 Boldrey, Guide to Operatic Roles and Arias, 6.

29
contraltos; and that AFAB tenors and baritones are common in women’s barbershop
singing.3 While the fach system of classification is solely associated with the
categorization of voice types and how they relate to specific roles in Western classical
opera, the stereotypes it applies to certain fächer based on character traits, physiques,
vocal ranges, and timbres of the roles associated with them illuminate the subconscious
masculine and feminine gender expectations that historically align with different voice
types. Using the aural stereotypes and expectations of those gendered fächer, in
conjunction with the goals of gender affirming voice practices, potential vocalises that
are targeted toward the affirmation of transgender and gender expansive (TGE) singers
begin to materialize.
It is important to deconstruct the modern expectations of the different voice
types, which are informed by the fach system of classification that includes physiological
stereotypes, ranges, timbres. This helps to avoid instinctively connecting each fach to a
specific gender, thus allowing voice classification to become far more malleable and
customizable to the holistic needs of the singer. Similar to how a voice teacher might
adjust their instruction to accommodate a change in fach as a singer ages, teachers of
singing can help their TGE students to cultivate a singing voice that better aligns with
their desired aesthetic and gender identity. To do so, they must understand how voices
are perceived in speech and then apply those principles to specific exercises intended to
enhance certain acoustical phenomena during phonation.4
3 William Sauerland, Queering Vocal Pedagogy: A Handbook for Teaching Trans and Genderqueer
Singers and Fostering Gender-Affirming Spaces (Lanham, MD: Rowman & Littlefield, 2022), 192.
4 It is important to note that not all singers to whom the definition of “transgender” or “gender expansive”
applies may utilize those or other gender-related terminology to refer to themselves. This principle also
applies to the following discussion regarding what is perceived as a “masculine” or “feminine” voice. As
such, not all TGE individuals will seek to alter their speech or singing habits as some may not ascribe to

30
An Overview of Gender Affirming Voice and Communication Therapy
In the mid-twentieth century, gender affirming voice and communication
therapy (GAVCT) became an integral part of the supportive resources for transfeminine
individuals, and by 1970, many of these practices were supported by peer-reviewed
research with the first framework being published by Oates and Dacakis in 1983.5 In this
initial publication, the authors primarily addressed the raising of the habitual
fundamental frequency (f0), but they also acknowledged the need to address prosody
(patterns of stress and intonation), intensity (volume), voice quality (amount of
dysphonia such as breathiness or strain), and resonance (intensification and enriching
of a musical tone by supplementary vibration; see also timbre).6
Conversely, well-documented research for masculinizing GAVCT is scarce, largely
due to the assumption that, with the addition of testosterone and the subsequent
lowering of the habitual speaking f0 due to the thickening of the vocal folds, no GAVCT is
necessary to masculinize the voice.7 However, as indicated above, habitual speaking f0 is
only one of the factors that contributes to gendered perception of an individual’s
speaking voice, and therefore, lowering the habitual speaking f0 may not be sufficient for
the individual’s voice to be perceived as masculine. Additionally, when considering that
not all transgender and gender expansive (TGE) individuals seeking to masculinize
socialized expectations of the alignment of their voice and their gender identity. It is always best to ask
what terminology or goals the individual prefers or has and then adjust accordingly. Validity of a TGE
individual’s identity is not predicated upon adherence to specific criteria or characteristics, and any
details about someone’s identity that are shared with the instructor should be supported and respected by
them.
5 Jennifer M. Oates, “Evidence-Based Practice in Voice Training for Trans Women,” in Voice and
Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide,
ed. Richard K Adler, Sandy Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 87-
8.
6 Ibid, 88. Adler and Antoni, “Vocal Health and Phonotrauma,” 136.
7 Block, Papp, and Adler, “Transmasculine Voice and Communication,” 141.

31
their voices are taking testosterone as part of their transition, it is clear that GAVCT can
benefit these individuals in order to healthily address each of the factors that contribute
to gendered voice perception, not just the f0.
8 When addressing habitual speaking f0,
however, “...the target [pitch] will need to be realistic to prevent setting up the client for
failure” because pushing the voice to the extremes of its range may result in excess
tension or other vocal issues due to the inherent physiological limitations of vocal fold
and vocal tract length.9 Taken from a discussion about transfeminine voices, the
following advice is also applicable to transmasculine individuals, although they face a
different set of challenges (e.g., smaller stature, higher speaking pitch).
There are no research reports regarding an association between physical
characteristics and the ability of trans and gender diverse individuals to modify
their voice. Inevitably, however, there will always be a proportion of trans women
who will present with a large stature and very low speaking pitch that is difficult
to modify. Biological constraints related to the size of the larynx and the vocal
folds can prove a difficult barrier to overcome… [the client must understand] that
pitch must be appropriate to stature, and that females of tall stature often have
lower-pitched voices.10
Therefore, to avoid focusing on a sound ideal which may be unrealistic, TGE individuals
may benefit from finding examples of individuals who match their physique, culture,
habitual speaking f0, and timbre to develop a desired aesthetic that more closely aligns
with the aesthetic they may be able to accomplish.
That said, before focusing on gender affirming exercises, it is important for
speech-language pathologists (SLPs) to conduct an initial voice assessment when
beginning GAVCT to determine the individual’s baseline habits and to identify any
8 Ibid, 141.
9 Adler and Antoni, “Vocal Health and Phonotrauma,” 122.
10 Ibid, 122.

32
potential pathologies or voice disorders. In Voice and Communication Therapy for the
Transgender/Gender Diverse Client, Georgia Dacakis (MEd, CCC-SLP) indicates the
following procedure for such an assessment:11
1. Four-second sustained /a/. Most stable of three attempts for analysis of
voice quality: jitter, shimmer, and noise-to-harmonic ratio.
2. Sustained /a/, /i/, and /u/. Analysis of resonance: F1, F2, F3.
3. Reading sample, e.g. The Rainbow Passage.
12 Analysis of fundamental
frequency: mean, modal, SD (standard deviation), minimum, maximum,
and range in semitones (ST).
4. Monologue sample at comfortable pitch and loudness (also to examine for
articulation precision and language). Analysis of intonation: f0 SD and
frequency of upward and downward intonation patterns.
5. /i:/ at comfortable loudness on ascending and descending glissandos.
Analysis of maximum phonation range in ST.
6. Maximum prolongation of /i/, /a/, and /u/: Analysis of maximum
phonation time.
Assessments such as these are crucial to understanding the individual’s vocal health
because approximately one in four transfeminine individuals will have some level of
muscle tension dysphonia (MTD, excess tension of the laryngeal muscles that impedes
vocal production) or other pathology that will impact their ability to maximize the
potential resonance of their GAVCT.13 For instance, Adler and Antoni indicate that there
may be “...a breathy and/or strained voice quality… due to the client’s own attempts to
modify her voice without professional guidance or… [by] following suggestions made by
11 Georgia Dacakis, “Considerations for Intake and Assessment,” in Voice and Communication Therapy
for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K Adler, Sandy
Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 109.
12 Grant Fairbanks, “The Rainbow Passage,” Voice and Articulation Drillbook, (New York: Harper & Row,
1960). 124-139. A transcription of the “Rainbow Passage” can be found in the glossary.
13 Adler and Antoni, “Vocal Health and Phonotrauma,” 136. Note: a similar statistic for transmasculine
individuals is not available due to a lack of research, but one may assume that manifestations of MTD for
transmasculine individuals might include hyperfunctional behaviors such as a depressed larynx in an
attempt to “deepen” the sound beyond healthy parameters.

33
other transgender individuals via the internet.”14 This is not ideal and must be
addressed because an “...overly breathy voice quality will contribute to laryngeal
dryness, vocal fatigue, and laryngeal strain… [as well as] the ability to safely project the
voice, since the vocal folds will not adduct adequately.”15 Therefore, in addition to
providing TGE individuals with a gender affirming practice protocol, SLPs often include
instructions for a comprehensive, general vocal health program that works toward a
healthy speech foundation upon which the client can build.16
Because f0, prosody, and intensity are inherently prescribed in the performance
of music due to the inclusion of pitch, melody, and dynamics, most of the remaining
discussion regarding GAVCT relates to resonance in order to focus on the tenets of
GAVCT that are directly relatable to singing. In therapy, SLPs use the following general
concepts as guidelines for their approach to resonance:17
The feminine tone can be identified for the client as the “light” or more fronted,
open [pharyngeal] production, presumably made with articulatory adjustments
that facilitate an increase in vowel formant frequencies, while the masculine tone
can be contrasted as “dark,” a more posterior, closed [pharyngeal] production
with lower formant frequencies.
However, as stated above, vocal tract length is rather fixed. Therefore, expectations
must be managed relating to the extent of manipulation of the vocal tract that can occur
within appropriate, healthy levels of tension before the sound becomes tight, pressed, or
overly tense.
14 Adler and Antoni, “Vocal Health and Phonotrauma,” 136.
15 Ibid, 138.
16 Suggestions for a comprehensive vocal health program can be found in ibid, 135-6.
17 Sandy Hirsch, Marylou Pausewang Gelfer, and Joan Boonin, “The Art and Science of Resonance,
Articulation, and Volume,” in Voice and Communication Therapy for the Transgender/Gender Diverse
Client: A Comprehensive Clinical Guide, ed. Richard K Adler, Sandy Hirsch, and Michelle Mordaunt,
Third (San Diego, CA: Plural Pub., 2019), 224.

34
In order to optimize the potential resonance of a TGE individual’s vocal tract
without compromising voice quality, SLPs focus on the manipulation of formant
frequencies (a potential resonance of the vocal tract; manifests as a peak in the spectral
envelope of the sound of a voice; abbreviated F1, F2, F3…). In their chapter on
resonance, articulation, and volume from the clinical guide to GAVCT, Sandy Hirsch
(MS, CCC-SLP), Marylou Pausewang Gelfer (PhD, CCC-SLP), and Joan Boonin (MS,
CCC-SLP) provide the following additional clarification regarding the nature of
formants:
Formant frequencies result from the amplification and damping of patterns of
harmonics in various frequency regions within the laryngeal spectrum. More
specifically, vowel formants are regions of energy concentration in the acoustic
signal occurring primarily between 300 and 3000 Hz.18
In that same chapter, they echo a tenet of voice science research which holds that the
first three formant frequencies (F1, F2, and F3) are the most important determinants of
vowel recognition in speech.19
In a 2009 research study, James M. Hillenbrand (PhD) and Michael J. Clark
(PhD, CCC-SLP) provided groundbreaking evidence that illustrates the importance of
manipulating the location of formant frequencies in addition to the speaking f0 to
optimize the efficacy of changing the gendered perception of an individual’s voice.20 In
this study, twenty-five cisgender men and twenty-five cisgender women recorded audio
samples that were then digitally altered in order for the researchers to maintain control
18 Ibid, 220.
19 Ibid, 221.
20 Ibid, 222. James M. Hillenbrand and Michael J. Clark. “The Role of F0 and Formant Frequencies in
Distinguishing the Voices of Men and Women.” (Attention, Perception and Psychophysics, 71(5)), 1150-
1166.

35
of the variables that were changed. There were three ways they altered each sample’s f0
or formant frequencies to regions associated with the opposite gender of the original
subject: 1) altered both f0 and formant frequencies, 2) altered only the f0, and 3) altered
only the formant frequencies. The results of the experiment are as follows:
When both fundamental frequency and formant frequencies were altered,
listeners heard approximately 82% of the speech samples as being spoken by the
opposite gender—that is, male speakers were perceived as females, and female
speakers were perceived as males. However, when formant frequencies only were
changed, the gender shift was much less marked: male speakers were perceived
as females about 19% of the time, and female speakers were heard as males about
12% of the time. Somewhat better results were obtained when fundamental
frequency only was changed: 34% of male speakers were perceived as females,
and 19% of females were perceived as males.21
Based on this initial data, it is evident that in order to optimize the gendered perception
of someone’s voice, both of these elements, f0 and formant frequency, must play an
integral part in gender affirming voice practices. However, Hirsch, et al. say that therein
lies the challenge: “The gender-diverse client [must] learn to make small changes in
formant structure that do not interfere with speech intelligibility but result in formant
frequencies that are more similar to those of the target gender.”22
In order to make such alterations, there are specific articulatory positions that
impact which frequencies are enhanced by formants. The size of the pharynx (the area
of the vocal tract from the glottis to the point of maximum constriction of the tongue) is
believed to affect the location of F1, and F2 is affected by the size of the oral cavity (area
of the vocal tract from the point of maximum constriction of the tongue to the lips), and
21 Ibid, 222.
22 Ibid, 221.

36
F3 is manipulated through a variance in front to back constriction.23 In singing,
however, it is more common to focus formant manipulation, or formant tuning
(achieving the best vowel to pitch match), on F1 and F2 only.24 Fortunately, when F1 and
F2 are manipulated, similar articulatory postures also impact F3; therefore additional
conscious changes to the vocal tract do not need to be made. In his book, Your Voice: An
Inside View, which was written specifically for singers, Scott McCoy (DMA) outlines
several potential vocal tract alterations and their impacts on F1 and F2 (see Table 2.1).25
Action F1 F2 Examples Change in Timbre
Constriction in the front of vocal tract [i] [e] brighter
Constriction in the back of vocal tract [a] [o] darker
Vocal tract is lengthened lower larynx; lip rounding darker
Vocal tract is shortened raise larynx; lip spreading brighter
Increased mouth opening N/A dropped jaw darker
= raised, enhanced formant frequency; = lowered, “calmed down” formant frequency
Table 2.1: Graphic depiction of formant frequency manipulation “rules”
as found in McCoy’s Your Voice: An Inside View, p. 67, with vowel
examples, vocal tract changes, and timbral outcome added by Hirner.
The raising of F1 typically results in a darker timbre, apart from shortening the
vocal tract, which consequently raises both F1 and F2 and results in a brighter timbre.
F2 follows the opposite pattern: when it is raised, the sound becomes brighter, and
when it is lowered, the sound becomes darker. Knowing the specific impact of each of
23 Ibid, 220-1.
24 Scott Jeffrey McCoy, Your Voice: An Inside View. (Gahanna, OH: Inside View, Press, 2019), 67.
25 Ibid, 67

37
these articulatory postures is crucial to the success of gendered perception in speech. So,
one can assume that they can be similarly utilized to achieve comparable gender
affirming goals in singing. Because McCoy’s discussion is on the timbral impact of
formant tuning, and because it is widely accepted that certain timbres correlate to
gendered perception of the speaking voice, it can be surmised that formant tuning may
be integral to altering the gendered perception of an individual’s singing voice as well.
But first the aesthetic goals of GAVCT must be better understood.
Aesthetic Goals in Voice Masculinization
As mentioned previously, there is a significant lack of research regarding
masculinizing GAVCT due to the assumption that pitch changes from exogenous
testosterone will be sufficient in masculinizing the voice. However, pitch itself is
inherently an unreliable determining factor in gender perception because there are
“...no studies that indicate an average conversational pitch at which transmasculine
individuals can be recognized as male… [and as such] the clinician must rely on data
about cisgender people and transgender women [to set a target pitch].”26 Pitch as the
primary determining factor is further weakened by the variety of contributing
characteristics related to gender perception because “[i]n addition to pitch, resonance,
and intonation…” being critical, “[elements such as] articulatory precision, loudness,
speech rate, lexical choices, syntactic constructions, discourse pragmatics, facial
expressions, eye contact, gestures, posture, gait, and body movement,” must also be
considered.27
26 Block, Papp, and Adler, “Transmasculine Voice and Communication,” 161.
27 Ibid, 151.

38
Given the current research, the codification of the exact contributions of each of
these factors in a concrete list that outlines their impacts on gendered perception is
impossible because the subtleties of gender perception vary greatly from culture to
culture.28 Because of this added complexity, it is important to note that the
characteristics of gender perception outlined here align with an Anglo- and Americancentric view, which is a view that is also held and acknowledged by the authors of the
associated chapter in the clinical guide to GAVCT: Christie Block (MA, MS, CCC-SLP),
Viktória G. Papp (PhD, MSC, MA) and Richard K. Adler. However, to illustrate the wide
range of possibilities of speaking f0 that lead to a masculine gender perception, those
authors provide an illuminating table that shows a staggering variance in the target f0
across ten different cultures that spans nearly eleven semitones (see Table 2.2).
29
Despite the wide range of potential targets for speaking f0, Block et al.
recommend that, generally, the target pitch in North America for voice masculinization
is around D3-E3, and they offer the following advice that further illustrates the critical
nature of the importance of focusing on resonance in GAVCT:
Gender perception is a rather slippery concept, but there is plenty of research
evidence… suggesting that when people listen to a voice, the psychoacoustic
percept of the resonance structure of the voice can easily drown out the gender
percept gained from pitch. This phenomenon makes resonance a key attribute for
masculine voice. 30
Even though resonance and speaking fundamental are interconnected, it is possible to
isolate them to an extent, thus allowing for resonant qualities of the voice to be
28 Ibid, 152.
29 Ibid, 145.
30 Ibid, 149, 161.

39
somewhat addressed without simultaneously adjusting the fundamental. As such, it may
be possible to create a targeted singing protocol that is not primarily driven by whether
an individual is on hormone replacement therapy (HRT) because the resonance goals
can be guided by similar principles regardless of the individual’s initial speaking f0.
Language f0 (Hz)
[approx. pitch correlation by Hirner]
Source
British
English
100-106, [G2-G#] Nolan, McDougall, de Jong,
and Hudson (2006)
Hudson, de Jong, McDougall,
Harrison, and Nolan (2007)
Taiwanese 110 [A2] Chen (2007)
German 110-120 [A2-B2] Jessen (2009)
Swedish 121 [A#2-B2] Lindh (2006)
Persian 122 [A#2-B2] Izadi, Mohseni, Daneshi, and
Sandughdar (2012)
Korean 133 [C3-C#3] Moon, Chung, Park, and Kim
(2012)
Brazilian
Portuguese
135 [C3-C#3] Pegoraro-Krook and Castro
(1994)
Punjabi 165 [E3] French, Saxena, Harrison, and
Künzel (1998)
Wu Chinese 170 [E3-F3] Rose (1991)
Urdu 186 [F#3] French et al. (1998)
Table 2.2: Recreation of “Table 9-3. Mean F0 of Cis Men Across
Languages” from Voice and Communication Therapy for the
Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, p.
145, with added f0 to pitch correlation by Hirner based off Appendix 2, p.
306 of McCoy’s Your Voice: An Inside View.
Written with accessibility to TGE individuals in mind, The Voice Book for Trans
and Non-Binary People by Matthew Mills (MSc, SLS) and Gillie Stoneham (MSc,
MRCSLT, Post-Graduate Diploma in Counselling) contains a helpful overview of the

40
concepts that guide GAVCT. In it, they provide lists of these principles as well as
exercises targeted toward voice feminization, masculinization, and even gender
neutralization, some of which contributed to the development of the forthcoming
practice protocol (see Table 2.3 for masculinization and neutralization goals—the
exercises for which frequently overlap; see Table 2.4 for feminization goals).31 In
addition to the above, Block et al. recommend one’s approach to be driven by the
following: focus on low and back vowels such as /o/ and /a/, and use them to inform
other vowel shapes; access chest resonance without excess tension through progressive
relaxation and postural alignment of the head, neck, and shoulders; and address pitch
contour and prosody (both of which are predetermined in singing due to the nature of
melodic material and as such will not be the focus of this discussion).32
Table 2.3: Voice masculinization and neutralization as found in Mills’
and Stoneham’s The Voice Book for Trans and Non-Binary People, p. 139.
31 Matthew Mills and Gillie Stoneham, The Voice Book for Trans and Non-Binary People: A Practical
Guide to Creating and Sustaining Authentic Voice and Communication. (London, UK: Jessica Kingsley
Publishers, 2017), 138-9.
32 Block, Papp, and Adler, “Transmasculine Voice and Communication,” 163-4.

41
Also, when working with transmasculine individuals, it is important to be aware
of a few of the potential issues that may occur when working to achieve the optimum
masculinized speaking pitch for an individual. Specifically, there should be “no
hyperfunction [often due to a depressed larynx], glottal fry [due to trying to access a
pitch that is too low to produce healthily], or decreased loudness level during connected
speech [likely due to a combination of the previous two factors],” each of which may be
alleviated through circumlaryngeal massage (to be discussed later).33
Aesthetic Goals in Voice Feminization
Table 2.4: Voice feminization goals as found in Mills’ and Stoneham’s
The Voice Book for Trans and Non-Binary People, p. 138. Hz to pitch
conversion by Hirner based on Appendix 2, p. 306 of McCoy’s Your Voice:
An Inside View: 165 Hz — E3; 175 Hz — F3; 196 Hz — G3; 220 Hz — A3.
Unlike voice masculinization, there is a significantly larger bank of research
related to feminizing GAVCT, likely due to feminizing HRT’s inability to directly affect
the voice—the majority of which focuses on raising the speaking f0 as well as cultivating
33 Ibid, 161. Dahl et al., “Voice and Speech Changes in Transmasculine Individuals Following
Circumlaryngeal Massage and Laryngeal Reposturing.”

42
the ever-important resonance capabilities of the individual. Mills and Stoneham list the
suggested guidelines for feminizing GAVCT as shown in Table 2.4.34 These goals are
further supported in the clinical guide to GAVCT edited by Adler et al., a general
summary of which is as follows:
1. Increase:
a. f0 to at least 155 Hz (D#3)35
b. Frequencies of F1, F2, F336
c. Breathiness slightly37
d. Oral and head resonance38
e. Pitch range and flexibility39
2. Decrease:
a. Chest resonance and darker undertones40
b. Intensity41
c. Vocal effort slightly42
3. Alter intonation patterns (prosody):43
a. Reduce use of level and downward tones
b. Increase upward tones
c. Increase number of shifts
4. Apply /i/ification and Lessac-Madsen Resonant Voice Therapy (LMRVT)44
Both texts, The Voice Book and the clinical guide to GAVCT, cover roughly the same
categories (f0; onset and articulation; smile or /i/ification; prosody; and placement of
resonance), but as pitch and prosody are dictated when singing by the sheet music being
34 Mills and Stoneham, The Voice Book for Trans and Non-Binary People, 138.
35 Oates, “Evidence-Based Practice in Voice Training for Trans Women,” 91. Hz to pitch conversion by
Hirner based off Appendix 2, Scott McCoy, Your Voice: An Inside View, 306.
36 Oates, “Evidence-Based Practice in Voice Training for Trans Women,” 94.
37 Ibid, 91.
38 Ibid, 92. Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,”
219.
39 Oates, “Evidence-Based Practice in Voice Training for Trans Women,” 92.
40 Ibid, 92. Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,”
219.
41 Oates, “Evidence-Based Practice in Voice Training for Trans Women,” 91-2.
42 Ibid, 91-2.
43 Ibid, 91-2.
44 Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 225-8.

43
performed, further discussion regarding onset and articulation, /i/ification, and
resonance is a more pertinent next step.
Feminizing GAVCT generally involves “easy” onsets and “light” contacts of
articulation that smooth out the flow of speech in order to create a “perception of
reduced speaking intensity and a slight increase in the perception of breathiness,” all of
which are usually associated with femininity.45 After addressing onsets, therapists often
focus on targeted exercises to blend words and syllables, beginning first with consonant
to vowel, then vowel to vowel, and lastly consonant to consonant.46 One specific
approach that incorporates the importance of consonant-vowel transitions is LessacMadsen Resonant Voice Therapy (L-MRVT). This method involves a wide range of
categories that contribute to the resonance produced in addition to vowel manipulation
and consonant-vowel transitions such as vocal health, sensory cues to reinforce
successful articulation, and clear respiratory goals.47 L-MRVT begins with syllabic play
rather than using words, specifically on voiceless consonants and high front vowels
through /i/ification (discussed in the protocol section) before moving to multisyllabic
chant, connected speech, and spontaneous conversation—all of which “can be easily
modified for trans men using low, back/rounded, and protruded vowels [instead].”48
Hirsch has synthesized L-MRVT with “coarticulation, the Source-Filter Theory, and
observations” during solo and ensemble performances throughout her career to create
an approach, titled Acoustic Assumptions, that helps TGE individuals “[to] find an
45 Ibid, 236-9. Conversely, it may be reasonable to assume that the opposite approach correlates to
masculinizing GAVCT (harder onsets and articulation which result in increased speaking intensity and a
reduction of breathiness due to the resulting increase in glottal closure).
46 Ibid, 236.
47 Ibid, 225.
48 Ibid, 227.

44
individual sound depending on personal needs, style, and where they are on the gender
spectrum,” whether in speech or “performance voice.”49 Appendix A contains scans of
the Acoustic Assumptions as indicated on pp. 230-231 of the clinical guide to GAVCT,
but here is a short summation of the overarching concepts:
1. Acoustic Assumptions — Framework for Transfeminine Voices
a. Voiced sounds are darker than voiceless. Consonants should be
articulated with a lighter touch, close to unvoiced but not unvoiced
entirely.
b. Loosen the contact of nasals (e.g., /m/, /n/, and /ŋ/), which have a
potential to have a “very tight contact and constriction” that “will
produce a pressed, dark sound when released.”
c. Vowels and diphthongs produce a dark or low resonance, except
for /i/. Use /i/ to influence all vowels
d. Liquids and Glides (e.g., /l/ and /j/) are produced with extreme lip
tension. Decrease tension as much as possible without distorting
the sound.
e. A closed vocal instrument makes for a “cave-like, dark sound, and
abrupt blunt endings. Keep the instrument (mouth) open.”
2. Acoustic Assumptions — Framework for Transmasculine Voices
a. Voiced sounds are darker than voiceless. Take advantage of this
and embrace the heavier tone.
b. Tighten the contact of nasals (such as /m/, /n/, and /ng/), which
have a potential tendency to have “very tight contact and
constriction” that can result in a darker tone.
c. Vowels and diphthongs produce a dark or low resonance, except
for /i/. Darken all vowels by producing them with a rounded or
oval shape.
d. Liquids and Glides (/l/ and /j/) are produced with extreme lip
tension. Maintain some of the tension as much as possible without
distorting the sound.
e. An open vocal instrument makes for a “lighter tone and
diminution of harmonics. A slightly abrupt/blunt close will
capture the darker tones from the instrument.”50
49 Ibid, 229.
50 Ibid, 230-1.

45
The process of /i/ification takes advantage of formant manipulation to achieve a
timbre that better aligns with a feminine gender presentation. First, the focus is on
voiceless consonants in tandem with high forward vowels.51 /i/ is considered the best
vowel for this purpose, but /I/ is sometimes used as well, although it is more difficult to
maintain initially because it involves a slightly lower jaw position that also enhances
F1.52 This is beneficial because an /i/ lip configuration (typically spread) increases F1
and F2 simultaneously. As discussed, raising the first two formants is advantageous to
voice feminization, but in most cases, lip spreading is not ideal in singing voice training
of singing due to the biproduct of raising the larynx. Fortunately, the conscious external
“smile” position (lip spreading) will eventually be modified to an internal smile
sensation that still maintains the /i/ification of the sound, ultimately resulting in a more
feminine sound when applied in conjunction with a raised speaking f0 because both F1
and F2 have been raised to supplement it.53 So, using lip spreading as a starting point
that will evolve to an internal sensation has the potential to be beneficial because the
internal “smile” posture can then be blended into other vowels, eventually /i/ifying each
of time—even the more difficult low-back rounded ones.54
Existing Gender Inclusive Singing Methods
In contrast to GAVCT where there has been far more research related to
transfeminine voices, research on gender affirming singing is limited and focuses on
transmasculine singing. This is possibly due to the lack of pedagogical resources related
to the training of those assigned male at birth (AMABs) who sing in a treble register or
51 Ibid, 228.
52 Ibid, 223-4.
53 Ibid, 228.
54 Ibid, 223, 228.

46
due to the singing community’s lack of familiarity with masculinizing HRT’s effects on
the voice.55 The foundation of modern research in transmasculine singing was
conducted by Alexandros N. Constansis (PhD) in 2008—the results of which have been
an integral part of singing pedagogy for transmasculine voices ever since.56 In his
research, Constansis “developed his vocal exercise regimen based on his own previous
experiences,” initially using himself as his research subject for his dissertation before
expanding the application of his methodology to his own transmasculine singers and
tracking their progress.57 As meaningful as Constansis’ research is, however, since all of
his subjects were on hormones it fails to address transmasculine pedagogy in cases
where an individual decides not to undergo masculinizing HRT.
“The Singing Voice,” a book chapter from Voice and Communication Therapy for
the Transgender/Gender Diverse Client, is a welcome addition to Constansis’ research.
Anita L. Kozan (PhD, CCC-SLP) provides helpful guidance to those working with TGE
singers, and Sandra C. Hammond (Founder and Artistic Director, Butterfly Music
Transgender Chorus) offers insight into her experiences with TGE voices in choir. They
discuss a wide variety of topics such as general exercises to assess range, the potential
fears that TGE singers may face, a small number of exercises, and the existing research
on TGE singing voices, of which Constansis’ is the most significant. The authors also
acknowledge that there have been no studies conducted specifically relating to
transfeminine singing voice pedagogy. It is worth noting, however, that the exercises
presented by Kozan assume that the instructor is a speech-language pathologist, not a
singing voice teacher. Additionally, the exercises and principles are broad and
55 Kozan and Hammond, “The Singing Voice,” 300.
56 Ibid, 299.
57 Ibid, 299.

47
conceptual in nature rather than providing a specific protocol for instruction, and while
the benefits of some exercises are included, the scientific rationale is regrettably absent.
In 2022, William Sauerland published a much-needed resource that includes
perspectives on TGE singing pedagogy from multiple perspectives titled Queering Vocal
Pedagogy. He discusses many of the GAVCT studies and topics covered in this
dissertation in addition to presenting his own case studies of six TGE singers who are
taking individual voice lessons: two trans women (one a teenager), two trans men (both
on masculinizing HRT), and two nonbinary singers (both AFAB).58 His study includes
teacher and student backgrounds as well as some of the vocalises conducted in their
lessons, but once more, a scientific rationale is not included. So, to supplement both
Constansis,’ Kozan’s, Hammond’s, and Sauerland’s contributions, the proposal of the
following protocol serves as a potential resource to voice teachers and TGE singers. The
Flexible Fach Gender Affirming Singing Protocol (FFP) aims to assist TGE singers,
regardless of their age or whether they are on HRT, through the combination of new
exercises with selected existing pedagogical approaches and GAVCT practices that are
science-informed and target-oriented.
Flexible Fach Gender Affirming Singing Protocol
Considering the five general areas of GAVCT (fundamental frequency, prosody,
intensity, voice quality, and resonance), it seems most pertinent to construct the
Flexible Fach Gender Affirming Singing Protocol based largely on the latter two. The
reason for the focus on voice quality and resonance is because fundamental frequency is
inherent to musicmaking due to the inclusion of prescribed pitches and because songs
58 Sauerland, Queering Vocal Pedagogy, 59-184.

48
can be transposed into an accessible range for the singer depending on their vocal
development. Therefore, working to achieve a gender neutral f0 is better aligned with
GAVCT than the FFP, apart from the development of range. Similarly, prosody and
intensity are inherent to singing due to predetermined melodies and dynamics, so
specific exercises to address them are not as necessary as in GAVCT. This leaves
masculinizing or feminizing the singing voice (regardless of gender identity) to focus
primarily on voice quality and resonance as outlined in the Flexible Fach Gender
Affirming Singing Protocol. These foci allow the teacher and singer to cultivate a timbre
and aural aesthetic that are better aligned with the singer’s desired gender presentation,
and as their “new” voice stabilizes over time, their accessible range and diversity of
repertoire may be expanded after establishing a healthy foundation (see Table 2.5 for an
outline of the protocol and Appendix B for a detailed overview).
Flexible Fach Gender Affirming Singing Protocol
An Outline
General Vocal Health
Assessment and Goal Setting
Posture Relaxation and Alignment
Laryngeal Massage
Laryngeal Height (Vocal Tract Length)
Respiration Abdominal vs. Thoracic
Breath Support and Control
Voice Quality Onset (Gentle vs. Firm)
Mode of Phonation
Range
Resonance Formant Tuning
Timbre through Articulation
Table 2.5: Flexible Fach Gender Affirming Singing Protocol (FFP), An
Outline. Developed by Stevie J. Hirner.

49
It is also important to note the intentional use of the words “masculinizing” and
“feminizing” rather than phrases like “singing like a cisgender man or woman” because
not all TGE singers may wish to conform to a specific gendered expectation, choosing
instead to pursue specific masculine or feminine characteristics to achieve a desired
aesthetic that feels most authentic to them whether they adhere to a binary gender
identity or not.
General Vocal Health
Gender affirming approaches to voice aside, a foundation of good vocal health
must be addressed before attempting to pursue serious singing or strenuous vocal use,
see Table 2.6. In the case of voice lessons, the goal of which is habilitation of the voice
and not rehabilitation, it is decidedly not the job of the voice teacher to diagnose or
attempt to treat any vocal pathologies that may be suspected. Instead, it is the teacher’s
responsibility to enhance or cultivate certain characteristics of the singer’s instrument,
which is most effectively done when the singer is in good vocal health. Similarly, GAVCT
is another form of vocal habilitation that is built upon the foundation of a healthy voice.
As such, Kozan stresses the importance of a conscientious effort to maintain vocal
health in all aspects of an individual’s voice, saying, “The vocal development program
for the singing voice begins with knowledge that the singer is also working on voice care
of the speaking voice... [and] if there is a concern about the speaking voice as well as the
singing voice, rehabilitation of the speaking voice [by a licensed professional] must
come first or be done conjointly.”59 If a singer’s vocal health is deficient, progress in the
habilitation of their singing voice will be greatly hindered, if not impossible.
59 Kozan and Hammond, “The Singing Voice,” 301.

50
General Vocal Health Program
Guidance Purpose
1. Utilize progressive relaxation
Note: Items 2 and 3 are addressed
later in the protocol
Reduce “stress or overt body and laryngeal tension”
4. Employ a stop smoking strategy Improve lung and respiratory health
5. Decrease caffeine usage Reduce risk of dehydration
6. Decrease citric acids Reduce risk of acid reflux
7. Keep well hydrated Facilitate efficient vocal fold adduction
8. Avoid spicy foods Reduce risk of acid reflux
9. Limit alcoholic beverages Reduce risk of dehydration
10. Be aware of decongestants and
antihistamines May contribute to dehydration of mucosa
11. Limit coughing; use safe coughing Reduce risk of vocal fold trauma
12. Limit throat clearing Reduce risk of vocal fold trauma
13. Avoid whispering Reduce risk of additional vocal fold stress and fatigue
14. Employ good general fitness;
adequate sleep Support breathing and voice production
15. Avoid shouting and talking over loud
noises Reduce risk of vocal fold trauma
16. Do not strain the voice or force words Reduce risk of vocal fold trauma
17. Build in vocal rest Reduce risk of fatigue; relax vocal folds and larynx
18. Be aware of dust or pet allergies Reduce negative impact on breathing or nasal and throat
irritation
19. Consider some type of amplification Reduce risk of fatigue
20. Apply good posture Reduce laryngeal tension
21. When needed, wear a mask Reduce risk of inhalation of harmful chemicals or sickness
Table 2.6: Consolidation and reformatting of the vocal health program
outlined by Adler and Antoni In Voice and Communication Therapy for
the Transgender/Gender Diverse Client: A Comprehensive Clinical
Guide, 134-6.60

51
Therefore, adherence to a preventive vocal health program is ideal. As an example,
Table 2.6 shows an abbreviated version of the recommendations made by Adler and
Antoni on pp. 134-6 of the clinical guide to GAVCT along with the reasoning behind the
inclusion of each guideline.
Assessment and Goal Setting
After introducing the general vocal health program to the student, it is
appropriate to assess the various aspects of the student’s current vocal capabilities and
to gather information regarding their perception of their voice, any goals that they may
have coming into lessons, and other related information. Table 2.7 shows an outline of
the order in which a new student evaluation may occur. First, it is recommended that
the student begin with a self-assessment of their voice. The framework for the selfassessment form found in Appendix C is the Trans Woman Voice Questionnaire
(TWVQ), formerly known as the Transsexual Voice Questionnaire for Male-to-Female
Transsexuals (TVQMtF) that was developed and published by Georgia Dacakis, Shelagh
Davies, Jennifer M. Oates, Jacinta M. Douglas, and Judith R Johnston in the Journal of
Voice.
61 In all, the core of the questionnaire found in Appendix C, titled Voice SelfAssessment for TGE Singers, is identical to the version by Dacakis, et al., but there are
minor adjustments to the verbiage (indicated through bolded italicized text) so that the
same form can be utilized by singers of any gender.
60 Adler and Antoni, “Vocal Health and Phonotrauma,” 134-6.
61 Georgia Dacakis, Shelagh Davies, Jennifer M. Oates, Jacinta M. Douglas, and Judith R. Johnston,
“Development and Preliminary Evaluation of the Transsexual Voice Questionnaire for Male-to-Female
Transsexuals.” Journal of Voice, 27, no. 3 (2013), 312-320.

52
Assessment and Goal Setting
Assessment
Without offering modifications to the singer throughout or indications as to what is being assessed, complete the following
assessment using the rubric in Appendix D. Note: this assessment can be used for any singer, not only TGE singers.
1. Information Gathering and Goal Setting:
a. Complete Voice Self-Assessment for TGE Singers; see Appendix C
i. (adapted from the Trans Woman Voice Questionnaire by Dacakis and Davies, 2012)62
b. Recommended: Complete a new student information questionnaire; see sample in Appendix E
c. Set realistic goals, informed by the following:
i. Evaluation of the singers current vocal capabilities
ii. The singer’s desired aesthetic (singer-centric collaboration)63
iii. Acknowledging and addressing any existing habits that may hinder progress
iv. Physiological Limitations
2.Posture
a.Visually assess alignment of feet, hips, ribcage, shoulders, laryngeal height, head and neck position, and the
presence of any excess tension
3. Breathing
a.Visually assess use of any clavicular, thoracic, or abdominal breathing as well as pacing of inhalation and
exhalation while performing the following:
i. Four second nasal inhalation → Four second exhalation
ii. Four second oral inhalation → Four second oral exhalation
iii. One second oral inhalation → Four second oral exhalation
b.Aurally and visually assess breath control and support while performing the following:
i. One second oral inhalation → Eight second oral exhalation on /s/
ii. One second oral inhalation → Maximum oral exhalation on /s/
iii. One second oral inhalation → Maximum duration of any chosen vowel on a comfortable mid-range pitch
4.Voice Quality and Timbre
a.Aurally assess breathiness, rasp, vibrato, and timbre
i. Four second sustained /a/ on a comfortable mid-range pitch64
5. Onset
a.Aurally assess glottal onset and resonance
i. Sing five quarter notes on the following vowels on a comfortable mid-range pitch with a slight breath in between:
1. /i/ /e/ /a/ /o/ /u/
6. Articulation
a.Aurally and visually assess location and weight of articulatory contacts
i. On a sustained, comfortable mid-range pitch, sing the following phrases:65
1. Annie is an independent astronomer.
2. Pumpkin pie is not an appropriate pest repellant.
3. Send Sammy sixteen extracts straight away.
4. Fifteen fresh fuchsia flowers fit perfectly.
5. Linda lays lovely lavender.
6. Kendall collects colorful keychains.
7. Shelves of shimmering shapes were touched by torchlight.
7.Physiological Range66
a.Aurally assess maximum physiological range and resonance
i. Descending glissando on any chosen vowel from mid-range to lowest pitch
ii. Ascending glissando on any chosen vowel from mid-range to highest pitch
8.Performable Range
a.Aurally assess performable range, registration events, and modes of phonation
i. Three- to five-note vocalise of instructor’s choosing
Table 2.7: Assessment and Goal Setting for Flexible Fach compiled and
developed by Stevie J. Hirner.

53
The questions—which were developed with GAVCT in mind—address
circumstances, perceptions, and goals that the individual may have socially, personally,
or professionally regarding the way they and others may view their voice. Therefore,
completion of this questionnaire may facilitate more effective goal setting.
Despite its roots in GAVCT, the content of the questionnaire is directly
transferrable to the singing voice as well and therefore is an excellent resource for voice
teachers. In addition to self-perception, it is also beneficial to collect other relevant
information about the student, whether through informal conversation or a new student
questionnaire just as one would when beginning to work with any student (an example
questionnaire can be found in Appendix E).
After the information gathering is complete, it is prudent to move to goal setting.
When setting goals for TGE singers, it is important to remember that “[Instruction] for
the transmasculine singer who is exploring a new vocal range previously unavailable to
him focuses on conditioning [or habilitating] the voice… [Instruction] for the
transfeminine client involves exploring and conditioning [once more: habilitating] a
range of the voice that may have been used only rarely in the past.”67 Because of the
likely nature of the singer’s unfamiliarity with how their voice may operate in the target
vocal aesthetic, maintaining realistic expectations regarding the extent to which their
instrument may change due to physiological limitations is key to setting them up for
62 Georgia Dacakis and Shelagh Davies, “Trans Woman Voice Questionnaire (Formerly TVQMtF), 2012,” La
Trobe University, accessed May 2, 2023,
https://www.latrobe.edu.au/__data/assets/pdf_file/0018/1421433/TWVQ-English-Questionnaire.pdf
63 Dacakis, “Considerations for Intake and Assessment,” 118.
64 Ibid, 109.
65 Liz Jackson Hearns, and Brian Kremer, The Singing Teacher's Guide to Transgender Voices, (San
Diego, CA: Plural Publishing, Inc., 2018), 202.
66 Kozan and Hammond, “The Singing Voice,” 296.
67 Kozan and Hammond, “The Singing Voice,” 295.

54
success. Of course, the singer’s desires must be taken into consideration, but it is also
the teacher’s responsibility to help determine the healthiest path forward. To that end, it
may be beneficial to acknowledge and address any existing habits the singer exhibits
that could hinder progress in addition to the potential impact that physiological factors
such as their stature, laryngeal size, and vocal tract length may have on what their voice
can do, or how much change can realistically occur.
For the voice evaluation itself, the following areas should be assessed through
exercises such as those outlined in Table 2.7: 1) posture, 2) breathing technique, 3) voice
quality and timbre, 4) onset, 5) articulation, 6) range (physiological and performable).
Each of these categories have a direct influence on the primary areas of focus of the FFP:
resonance, voice quality and range. To assist in the quantitative assessment of these
factors, a rubric can be found in Appendix D. Note that although each category contains
specific exercises and the rubric is divided accordingly, it is recommended that the
rubric be completed after the assessment is over so that any elements that were
observed in multiple categories can be holistically evaluated (e.g., breathing, voice
quality, or timbre).
Posture
The outline of each section of the FFP consists of a numbered list of the exercises
involved and the steps to complete them, the intention or goal of the exercise, and the
source of the exercise. When referencing individual exercises in the body of this text,
they are labeled using three separate elements: the letter of the Exercise Table (A, B, C,
or D), whether it is masculinizing or feminizing (M or F), and then the number of the
exercise. For example, "Abdominal Breaths” from Breathing (Exercise Table B) would be

55
labeled as Exercise BM1. While these exercises were selected for inclusion in the FFP
due to their specific science-informed benefits related to gender affirming singing, they
are by no means the only exercises that can accomplish these goals. Teachers are
encouraged to build upon the science-informed principles behind these exercises to
customize their own protocols should they choose to substitute an exercise that targets a
similar goal.
Shown in Exercise Table A, the rib stretch is likely an exercise with which most
teachers are familiar. It consists of arm extensions overhead and leaning side to side to
stretch the intercostals. The iteration shown here by Mills and Stoneham includes
breathing from the stretched position with the opposite hand on the ribcage to develop a
heightened awareness of intercostal expansion. Despite there being no variation in the
execution of this technique between masculinization and feminization, there is a
different focus for each. Masculinization of the voice is known to benefit from an
increase in lung capacity and abdominal support. This directly correlates to preparation
for more robust vocal production, and by preparing the intercostals, the body is better
equipped for both thoracic and abdominal involvement in respiration.68 When
feminizing the voice, it may be useful to focus on thoracic breathing (to be discussed in
the next section), and therefore preparing the intercostals for more active engagement is
essential.
The benefits of circumlaryngeal massage on relieving tension in the larynx to
facilitate reposturing for voice masculinization are outlined by Kimberly L. Dahl (MS,
CCC-SLP), Felicia A. François (MS, CCC-SLP), Daniel P. Buckley (MS, CCC-SLP), and
Cara E. Stepp (PhD) in their research article on the subject.
68 Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 241.

56
A. Posture
Masculinizing and Feminizing
Exercise Steps/Comments Intent/Goal Source
1. Rib Stretch69 1.Stand with slightly wider stance
than hip width.
2.Arc right arm overhead, tilt head
slightly to the side, lean to the
left.
3.Place left hand on right side of
the ribcage below the armpit.
4.Breathe in, feeling for the
expansion of the ribs under the
left hand.
5.Hold for three seconds; then
exhale.
6.Return to vertical.
7.Repeat on left side.
Stretch intercostal
muscles to encourage
thoracic freedom and
build awareness of rib
expansion.
Can be used for
either masculinizing
or feminizing the
voice. Useful for
masculinizing the
voice due to the
benefits of
preparation for more
robust abdominal
breath support, and
useful for feminizing
the voice as it better
prepares the body for
thoracic breathing.
Mills and
Stoneham, The
Voice Book for
Trans and NonBinary People,
90.
2. Circumlaryngeal
Massage70
1.Place both hands on either side
of the neck, on top of the
sternocleidomastoid, under the
ears.
2.Apply pressure and pull down
along the sternocleidomastoid
to the collarbones for 1.5 min.
Relieve laryngeal
tension. Beneficial to
all singers.
However, the
resultant lower
reposturing will
darken timbre, which
may be
counterproductive to
feminizing the voice.
As such, using the
last two steps as a
release of tension is
beneficial, but care
should be taken not to
lower the larynx as a
result.
Dahl, François,
Buckley, and
Stepp, “Voice
and Speech
Changes in
Transmasculine
Individuals
following
Circumlaryngeal
Massage and
Laryngeal
Reposturing,”
(American
Journal
of SpeechLanguage
Pathology, May
2022), 1370.
69 Mills and Stoneham, The Voice Book for Trans and Non-Binary People, 90.
70 Dahl, et al., “Voice and Speech Changes in Transmasculine Individuals Following Circumlaryngeal
Massage and Laryngeal Reposturing,” 1370. Photo of the individual’s head and neck with superimposed
larynx taken from Jana Vasković, “Neck Anatomy,” Kenhub (November 3, 2023),
https://www.kenhub.com/en/library/anatomy/neck-anatomy. Superimposed sternocleidomastoids,
arrows, and labels added by Stevie J. Hirner.

57
2. Circumlaryngeal
Massage, cont.
3.Place thumb and one finger on
either side of the larynx in the
thyrohyoid space, and massage
front to back for 3.5 min.
4. Place thumb and one finger on either
side of the larynx, move above the
hyoid bone, and massage the
muscles front to back in a circular
motion for 2.5 mins.
5. Place right hand on the left side
of the thyroid cartilage, and
gently pull to the right.
6.Alternate sides, keeping the
movement continuous for 1.5
mins.
7.Repeat motion, holding in each
direction for 1 minute on each
side.
8. With one hand, gently pull the thyroid
cartilage down, release, and repeat for
2 minutes.
9. Repeat motion, this time from the hyoid
bone for two minutes.

58
3. Tongue Buckle71 1.Place tongue tip behind the
lower teeth.
2.Buckle the tongue outward so
that it forms a big curve out
from just beneath your top
teeth, then bring it in behind
your bottom teeth.
3.Hold the outward tongue
posture while doing a “yawn
sigh” or descending glissando
on /a/ and on /ǣ/ in a
comfortable range. Repeat four
times with each vowel.
4.Place the tip of the tongue
between the lower teeth and the
lower lip and repeat the
exercise four more times.
To relieve tongue
tension, allowing for
easier manipulation of
the vocal tract. Goal:
to round the tongue
outward as much as
possible. Tongues
that are tense will
tend to flatten, shake,
or pull back into the
mouth while
completing the
exercise.
Kozan, “The
Singing Voice,”
316.
Table 2.8: Exercise Table A. Rib Stretch, Circumlaryngeal Massage, and
Tongue Buckle. Exercises compiled by Stevie J. Hirner.
They found that individuals’ voices were perceived to be “significantly more masculine
postreposturing” because the technique facilitated the ability to lower the larynx without
causing excess tension, which lengthens the vocal tract and lowers F1 and F2—a fact
known to benefit masculinization of the voice.72
While their research focused on ultimately lowering the larynx, that aspect of the
method is not introduced until the final two steps. The first seven steps of the massage
focus on relieving general laryngeal tension, which can be beneficial to all singers. In the
case of voice feminization, much of the research indicates that shortening the vocal tract
is helpful, but for singers this is quite risky due to the likelihood of undue tension being
created by an elevated larynx.73As such, circumlaryngeal massage may be helpful in
alleviating that tension and supporting laryngeal freedom. In both cases, it is important
71 Kozan and Hammond, “The Singing Voice,”, 316
72 Dahl, et al., “Voice and Speech Changes in Transmasculine Individuals Following Circumlaryngeal
Massage and Laryngeal Reposturing,” 9.
73 Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 217.

59
to monitor laryngeal tension while trying to find a comfortably low laryngeal position for
masculinization and, for feminization, avoiding a laryngeal position that creates excess
tension from a laryngeal position that is too high.74
Respiration
As a voice teacher, it is important to be “acutely aware at all times of the
[student’s] use of breath, both support and control” just as it is for SLP clinicians.75
Regarding techniques of respiration, it is likely that abdominal breathing is more
beneficial to masculinization and thoracic breathing to feminization because abdominal
breathing facilitates tracheal pull (See Exercise Table B). Tracheal pull is a phenomenon
that has been observed and well-documented by voice scientists, but perhaps most
notably by Johan Sundberg. Sundberg indicates that when executing a “belly out”
strategy in respiration, e.g., abdominal breathing, there is a downward force exerted on
the larynx that results in a lengthening of the vocal tract, a lowering of F1 and F2, and a
darker timbre—all of which are beneficial to voice masculinization but not
feminization.76
This is further explained by McCoy who says that when the diaphragm expands
downward, the resulting force on the lungs pulls them down along with the bronchial
tubes and the trachea that then pull the larynx down slightly.77 Because of this, focusing
on abdominal breathing for voice masculinization provides a more advantageous
laryngeal position.
74 Marylou Pausewang Gelfer, Jack Pickering, and Michelle Mordaunt, “Pitch and Intonation,” in Voice
and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical
Guide, ed. Richard K Adler, Sandy Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub.,
2019), 196.
75 “The Art and Science of Resonance, Articulation, and Volume,” 226.
76 Sundberg, “Breathing Behavior During Singing,” 49-50.
77 McCoy, Your Voice: An Inside View, 180.

60
B. Breathing
Masculinizing
Exercise Steps Intent/Goal Source
1. Abdominal Breaths78 1.Place one hand on the abdomen,
in between the belly button and
the bottom of the ribcage.
2.Place the other hand on the lower
back on the same side as the
hand, above the hip with the
fingers extending toward the
spine.
3.Breathe from this position, noting
the expansion of the abdomen
and lower back into the hands.
Try to minimize the chest raising
and lowering during respiration.
4.Execute breathing exercises from
this position, e.g., panting,
sustained hiss.
5.Work to maintain the same
awareness without hands on the
abdomen and back.
To facilitate
tracheal pull and a
darker timbre of
the voice.
To minimize
ribcage expansion
and subsequent
tension or pain if
the singer wears a
binder.
Miller, The
Structure of
Singing, 32.
McCoy, Your
Voice: An Inside
View, 180.
Sundberg,
“Breathing
Behavior During
Singing,” 49-50.
Constansis, The
Changing
Female-to-Male
Voice.
Feminizing
Exercise Steps Intent/Goal Source
1. Rib Cage Expansion79 1.Hold an elastic exercise band,
stretched between each hand
overhead or in front of the body
as shown in the images below,
whichever is most comfortable.
To avoid tracheal
pull and “…to
actively train the
rib cage expansion
necessary for
optimal inhalation
and encourage
delayed thoracic
movement back to
neutral during
exhalation. When
the rib cage is
already in an
expanded state,
the kinesthetic
Ragan, “A
Systematic
Approach to
Voice,” Exercise
3-13, 70-2.
Images from
Ibid, Figure 3-13.
A-B., 70-1.
Ragan indicates
this exercise
should be used
in conjunction
with an
78 Richard Miller, The Structure of Singing: System and Art in Vocal Technique, (New York: Schirmer,
1996), 32; McCoy, Your Voice: An Inside View, 180; Johan Sundberg, “Breathing Behavior During
Singing,” The Nats Journal (January/February 1993), 49-50.
79 Kari Ragan, “Exercise 3-13,” A Systematic Approach to Voice: The Art of Studio Application (San
Diego, CA: Plural Publishing, Inc., 2020), 70-2. Images from Ibid, Figure 3-13. A-B., 70-1; Christine
Adaire, Delia Kropp, Sandy Hirsch, and Rebecca Root, “Meeting the Needs of Gender Diverse Actors:
Personal, Clinical, and Artistic Perspectives,” in Voice and Communication Therapy for the
Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K Adler, Sandy
Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 352.

61
2.Breathe from this expanded
position, noting the kinesthetic
awareness of the expansion of
the ribcage during inhalation and
contraction upon exhalation.
Abdominal engagement on
exhalation is welcome but should
be minimized upon inhalation.
3.Execute breathing exercises from
this position, e.g., panting,
sustained hiss.
4.Work to maintain the same
awareness when not using the
exercise band.
Note: nasal inhalation has been
found to stimulate intercostal
engagement and therefore would
be advantageous to developing
thoracic breathing.
sense of breathing
into a space that
already exists
becomes more
reliable. This
encourages
singers to naturally
allow air into the
body instead of
sucking or gasping
for air.”
abdominal
breath, but to
avoid any
unintentional
lengthening of
the vocal tract
due to tracheal
pull, forego that
step. Adaptation
by Hirner.
Table 2.9: Exercise Table B. Abdominal Breaths and Rib Cage Expansion.
Compiled by Stevie J. Hirner. Adaptation of Rib Cage Expansion also by
Hirner.
Conversely, it is possible that avoiding this effect may be beneficial to voice
feminization. To do so and still provide enough breath support for robust vocal
production, clear attention on thoracic breathing may be ideal. As such, in the
feminization of the voice, breathing exercises like the Rib Cage Expansion outlined by
Kari Ragan (DMA) that is adapted here may provide an alternative that does not initiate
tracheal pull. In the adaptation of Ragan’s exercise, her final steps of the technique,
which involve an abdominal breath, may be less emphasized or omitted altogether to
avoid any unintentional darkening of timbre.
When working with transmasculine individuals, it is likely that some may be
using a binder for chest compression to “de-emphasize chest size and create a more
masculine chest contour.”80 In a 2017 study, it was reported that individuals use a
80 Block, Papp, and Adler, “Transmasculine Voice and Communication,” 152.

62
variety of methods to bind their chests, and they have the potential to develop quite a
wide array of negative health outcomes due to binding (see Tables 2.10 and 2.11).81
Many of these issues directly impact respiratory capabilities, but “because proper
pulmonary support is necessary for maintaining subglottal pressure,” it is important
that breathing remain free and that the teacher remains aware of the possibility of “a
binder or other compressive clothing that the [student] may be wearing.”82
Table 2.10: Distribution of binding practices from Table 2, Peitzmeier,
Gardner, Weinand, Corbet, and Acevedo, “Health Impact of Chest Binding
among Transgender Adults,” 70.
In order to facilitate effective respiration in lieu of a binder, the potential for
reduced breath support and control, and a risk of increased tension, abdominal
81 Sarah Peitzmeier, Ivy Gardner, Jamie Weinand, Alexandra Corbet, and Kimberlynn Acevedo, “Health
Impact of Chest Binding among Transgender Adults: A Community-Engaged, Cross-Sectional Study,”
Culture, Health, & Sexuality 19, no 1, (2017), 70-1.
82 Block, Papp and Adler, “Transmasculine Voice and Communication,” 152, 165.

63
breathing is ideal so that added pressure is not exerted on the chest due to ribcage
expansion.83 However, to avoid potentially exacerbating an individual’s gender
dysphoria, it is important not to request or require that a student remove their binder to
facilitate freer breathing, and the lesson should continue with the binder on if the
student is wearing one.84 It would be appropriate, however, to have a conversation with
them about the potential risks and challenges, importance of abdominal breathing, and
using their binder correctly (see footnote for suggested advice).85
Table 2.11: Self-reported health outcomes of binding from Table 3,
Peitzmeier, Gardner, Weinand, Corbet, and Acevedo, “Health Impact of
Chest Binding among Transgender Adults,” 71.
83 Ibid, 167
84 Ibid, 167.
85 Peitzmeier, Gardner, Weinand, Corbet, and Acevedo, “Health Impact of Chest Binding among
Transgender Adults: A Community-Engaged, Cross-Sectional Study,” 70-73. Advice on binding can be
found in Heath Mackenzie Reynolds and Zil Garner Goldstein, “Social Transition,” in Trans Bodies, Trans
Selves: A Resource for the Transgender Community, ed. Laura Erickson-Schroth, (Oxford: Oxford
University Press, 2014) 124-54.

64
Voice Quality
When addressing phonation with TGE singers, some may assume that range
should be the first factor to consider. However, range is not a primary focus of the FFP
for a few reasons. First, range on its own is not the sole determinant when classifying
voices because of the extreme variability of the range capabilities of different singers.86
Of course, range is a consideration in the development of the TGE singer as it is likely
they will express a desire to sing in a range more typically associated with their desired
gender. However, first it is important to address how they are producing the sound,
similar to how GAVCT involves several factors apart from f0, because merely phonating
in the target register is often not sufficient on its own to shift gender perception.
Fortunately, there is a significant overlap in ranges of the middle voice
classifications of tenor and contralto akin to the overlap in speaking fundamentals of
AMABs and AFABs (see Table 2.12), but attention to onsets, articulation of consonants,
mode of phonation, and resonance may actually help to facilitate the development of the
desired range by taking advantage of source-filter theory and vocal tract inertance.
87
Note that, “[t]here are no ‘right or wrongs’ (sic) in what range or ranges in which the
singer chooses to sing,” and some TGE singers may not want to explore a new singing
range, preferring instead to prioritize the development of their sound.88 Therefore,
rather than focus on range extension exercises, the first phonation-related step in the
FFP is to develop ideal onsets based on the desired gendered perception of the
individual’s voice (see Exercise Table C, Parts 1 and 2). Gentle onsets have been found to
86 McKinney, The Diagnosis and Correction of Vocal Faults, 111.
87 Ibid, 111., Ingo R. Titze and Brad H. Story, “Acoustic Interactions of the Voice Source with the Lower
Vocal Tract,” Journal of the Acoustical Society of America, 101, no. 4 (1 April 1997), 2234-43.
88 Kozan and Hammond, “The Singing Voice,” 291.

65
“potentially ‘feminize’ the voice” because of the “perception of reduced speaking
intensity and a slight increase in the perception of breathiness” (underlined emphasis
added). 89 It is important to note the use of “perception” here. It is not the goal of voice
feminization to incorporate breathiness or to sing with less intensity.
Table 2.12: Voice Ranges Derived from Vocal Literature, Figure 3 from
McKinney, The Diagnosis and Correction of Vocal Faults, 111. Range (1) is
the “practical twelfth” needed to sing 75% of the literature for the voice
type, (2) is the “ideal” two octaves that cover 90-95%, and (3) indicates the
extreme ranges that are sometimes demanded.
By changing the character of the onset to avoid a harsh, aggressive, or firmly
initiated onset in favor of a gentle, coordinated one may provide a subconscious
perception of delicacy (softer), which is interpreted as feminine. This is not to say that
femininity cannot be achieved through a more assertive approach, but because
articulation is a key factor in the subconscious gendering of an individual’s voice, a
gentler onset may be appropriate, and a firmer one may contribute to a masculine
perception. As such, a firm onset may be facilitated by starting with a glottal stop and
89 Hirsch, Gelfer and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 237.

66
gradually reducing the extent of the closure until a firm onset is achieved with no
harshness in the sound, even at softer dynamics, through exercises such as CM1.1-3. For
a “feminine” perception, approaching a gently coordinated onset first from an aspirate
/h/ prior to phonation and then gradually eliminating the /h/ across even loud
dynamics without progressing to an onset that is overly firm may be beneficial, as found
in exercise CF1.1-3.
In both iterations, neither the glottal /ʔ/ nor the aspirate /h/ is the goal. Instead,
they are tools through which the appropriate onset is approached to familiarize the
singer with the sensations attributed to their ideal onsets. Similar to onsets, firm voiced
consonants are perceived as more masculine and “light” unvoiced consonants are
perceived as feminine.90 The emphasis should be on where and how the consonants are
articulated. Initially, one might assume that “light” implies that the consonants should
have less articulatory energy when seeking to feminize the voice, and while there may be
a slight variation in the back pressure behind a plosive consonant, it is also the location
of the articulation and the extent to which a voiced consonant involves phonation that
impacts perception.
Take /k/ and /g/ for example. Both of these paired consonants can be articulated
by the tongue making contact further back in the oral cavity on the soft palate or more
forward on the hard palate. The resulting timbre of these articulations aligns with
similar outcomes of forward and back vowels: back is darker, forward is brighter.
Therefore, darker back articulations may be helpful when the option is available if
seeking to masculinize one’s voice or brighter forward articulations for a feminine
perception.
90 Hirsch, Gelfer, and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 230-1.

67
C. Onset, Articulation, and Phonation
Exercise Table C, Part 1: Masculinizing
Exercise Steps Intent/Goal Source
1. Firm Onset91 1. Begin with a hard glottal onset in
a comfortable range within the
target register.
2. Gradually relax onset until there is
no harshness, but it is still firm.
3. Repeat on all primary vowels:
/a/, /o/, /u/, /e/, /i/.
Work to establish
a firm,
coordinated onset
at all dynamic
levels.
Optional SOVT:
using a straw,
sing the
sequence of
exercises.
Exercise created
by Hirner based
off principles
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-37
91 Ibid, 236-37.

68
2. Firm Consonants92 1. Execute the following exercise on
with firm, crisp consonants.
Transfer the firm onset and crisp
consonants to the following phrases:
2. Annie is an independent
astronomer.
3. Pumpkin pie is not an appropriate
pest repellant.
4. Send Sammy sixteen extracts
straight away.
5. Fifteen fresh fuchsia flowers fit
perfectly.
6. Linda lays lovely lavender.
7. Kendall collects colorful
keychains.
8. Shelves of shimmering shapes
were touched by torchlight.
Form consonants
with firmer
“darker”
articulations
further back in
the oral cavity
when possible,
e.g., articulating
/k/ on the soft
palate instead of
the hard palate.
Voiced
consonants
should be firm
and clear.
Connect firm
onset with crisp
consonants into
the text
exercises.
Exercise created
by Hirner based
off principles
found in the
following sources:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-40.
Acoustic
Assumptions,
230-231.
Text samples
taken from the
following:
Hearns and
Kremer, The
Singing Teacher’s
Guide to
Transgender
Voices, 123-4,
202.
92 Ibid, 236-40; Ibid, “Acoustic Assumptions,” 230-231. Text samples taken from Hearns and Kremer, The
Singing Teacher’s Guide to Transgender Voices, 202.

69
3. Mode 1 Glissandi93 1. Beginning on a comfortable pitch
in the Mode 1 register, initiate a
firm onset on /a/, /o/, or /u/ and
slide downward to the lowest end
of the vocal range.
2. Then, initiate a firm onset on the
same vowel at:
a. the lowest end of the vocal
range and slide up to the midrange.
b. the mid-range of the vocal
range and slide up to the
highest end of the Mode 1
range.
c. The highest end of the Mode
1 range and slide down to the
mid-range
d. The highest end of the Mode
1 range to the lowest.
Optional SOVT: using a straw, sing
the sequence of exercises while
maintaining an /a/, /o/, or /u/ tongue
position
Access Mode 1
and cultivate
laryngeal
flexibility and
freedom without
“muscling” the
sound in order to
maintaining
intensity without
creating excess
tension
Adapted by
Hirner from the
following source:
Kozan, “The
Singing Voice,”
296.
93 Kozan and Hammond, “The Singing Voice,” 296.

70
4. Chest Registration
Isolation94
1. Sing the following exercise. First
on /væ/ to access Mode 1, then
move to darker vowels.
2. Once comfortability is established,
work outward by half-steps.
Access and
cultivate Mode 1
by remaining in a
range that
facilitates TAdominant
phonation, e.g.,
down to the
lowest
comfortable pitch
for the singer
without losing
intensity and not
progressing
higher than the
average tenor
register, approx.
A4-C4, taking
care to remain in
Mode 1
throughout.
Exercise adapted
by Hirner from the
following:
Exercise 5-11 A
and B, Ragan, A
Systematic
Approach to
Voice, 157-8.
Table 2.13: Exercise Table C, Part 1. Onset, Articulation, and Phonation
Masculinizing Exercises — Firm Onset, Firm Consonants, Mode 1
Glissandi, and Chest Registration Isolation. Exercises created and adapted
by Stevie J. Hirner.
In cases when it is not possible to manipulate the point of articulation, such as with /p/
and /b/, attention to the extent of phonation involved may help achieve the desired
effect. By minimizing involvement of phonation in a voiced consonant and allowing a bit
of an unvoiced quality to be incorporated, the resulting effect may contribute to the
feminine perception of one’s singing voice just as it does in the speaking voice.
94 Ragan, A Systematic Approach to Voice, 157-8.

71
Exercise Table C, Part 2: Feminizing
Exercise Steps Intent/Goal Source
1. Gentle Onset95 1. Begin with an aspirate /h/ onset in
a comfortable range within the
target register.
2. Gradually eliminate /h/ but
maintain smooth approximation.
3. Repeat on all primary vowels:
/a/, /o/, /u/, /e/, /i/.
Work to establish
a gentle,
coordinated onset
at all dynamic
levels.
Optional SOVT:
using a straw,
sing the
sequence of
exercises.
Exercise created
by Hirner based
off principles
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-37
95 Hirsch, Gelfer, and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 236-7.

72
2. Light Consonants96 1. Execute the indicated exercise on
with “light contacts.”
Transfer the firm onset and crisp
consonants to the following phrases.
See notation below:
2. Annie is an independent
astronomer.
3. Pumpkin pie is not an appropriate
pest repellant.
4. Send Sammy sixteen extracts
straight away.
5. Fifteen fresh fuchsia flowers fit
perfectly.
6. Linda lays lovely lavender.
7. Kendall collects colorful
keychains.
8. Shelves of shimmering shapes
were touched by torchlight.
Form consonants
with “light
contacts” further
forward in the
oral cavity, when
possible, e.g.,
articulating /k/ on
the hard palate
instead of the soft
palate.
Voiced
consonants
should be lightly
articulated to
“avoid a
pronounced
acoustic burst.”
Connect firm
onset with crisp
consonants into
the text
exercises.
Exercise created
by Hirner based
off principles
found in the
following sources:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-40.
Hirsch, “Acoustic
Assumptions,”
230-231.
Text samples
taken from the
following:
Hearns and
Kremer, The
Singing Teacher’s
Guide to
Transgender
Voices, 123-4,
202.
96 Ibid, 229-240.

73
3. Mode 2 Glissandi97 1. Beginning on a comfortable pitch
in the Mode 2 register, initiate a
gentle onset on /i/, or /I/ and slide
downward to the lowest end of the
Mode 2 range.
2. Then, initiate a gentle onset on
the same vowel at:
a. the highest end of the Mode 2
range and slide down to the
mid-range.
b. the mid-range and slide down
to the lowest end of the Mode
2 range.
c. The lowest end of the Mode 2
range and slide up to the midrange
d. The lowest end of the Mode 2
range to the highest.
Optional SOVT: using a straw,
maintain an /i/ tongue position and sing
the above sequence of exercises.
Access Mode 2
and cultivate
laryngeal
flexibility and
freedom without
“muscling” the
sound in order to
maintain intensity
without creating
excess tension
Note: it is
important to
continue to
cultivate Mode 1
phonation as well
in order to
coordinate the
involvement of the
TA in Mode 2,
which can help
facilitate more
robust Mode 2
phonation.
Adapted by
Hirner from the
following sources:
Kozan, “The
Singing Voice,”
296.
Importance of
Mode 1
cultivation from:
Hirner, “Interview
with countertenor
Stephen Pitters,
MM.”
97 Kozan and Hammond, “The Singing Voice,” 296. Stevie J. Hirner, Interview with Stephen Pitters, MM,
countertenor, Personal (April 8, 2023).

74
4. Head Registration
Isolation Through
Variation of Dynamics
and Vowels98
1. Begin on /u/ at a starting pitch of
approximately C5 and sing a fivenote descending scale.
2. Move to an /i/ or /I/ changing the
dynamic to mezzo forte (mf) and
sing a three-note ascending scale
while still maintaining Mode 2 at a
louder dynamic.
3. Move by half-steps and repeat the
exercise to a comfortable low
range while maintaining Mode 2.
Cultivate Mode 2
and “[encourage]
dynamic
negotiation
between the
intrinsic laryngeal
muscles—
primarily the CT
and TA—by using
a variety of
vowels and
volumes.”
Exercise adapted
by Hirner from
the following:
Exercise 5-11 A
and B, Ragan, A
Systematic
Approach to
Voice, 151-2.
Table 2.14: Exercise Table C, Part 2. Onset, Articulation, and Phonation
Feminizing Exercises — Gentle Onset, Light Consonants, Mode 2
Glissandi, and Head Registration Isolation through Variation of Dynamics
and Vowels. Exercises created and adapted by Stevie J. Hirner.
Exercises found in CM2 and CF2 provide an opportunity to practice the
articulatory phenomena related to both the previously discussed onsets and variations
in consonants through a series of tongue twisters. Exercises CM3 and CF3 each contain
an adaptation of the glissandi protocol found in the clinical guide to GAVCT, except
rather than using the glissandi across the entire range of the singer, care should be taken
to maintain the desired phonatory mode—the thyroarytenoid (TA)-dominant Mode 1, or
“chest voice,” for masculinization; and the cricothyroid (CT)-dominant Mode 2, or “head
voice,” for feminization.99 Exercises CM4 and CF4 were selected from AFAB chest
registration and AMAB head registration exercises by Kari Ragan.100 However, rather
98 Ragan, A Systematic Approach to Voice, 151-2.
99 Kozan and Hammond, “The Singing Voice,” 296.
100 Ragan, A Systematic Approach to Voice, 151-2, 157-8.

75
than continuing upward into Mode 2 when singing CM4, the singer is encouraged to go
only to the upper extent of their Mode 1 register as they develop this section of their
range. Similarly, rather than extending the exercise seen in CF4 into Mode 1, it is
recommended that the singer only extend to a comfortably low range in their Mode 2
register, and instead of changing to /o/ or /a/ in the second measure as in the original
version, the singer should change to /i/, which is an option in the original exercise, or to
/I/ since both of those vowels have been found to benefit feminizing gendered
perception.
Note that in the development of Mode 2 with TGE singers who want to feminize
their voices, it is likely important to continue to cultivate Mode 1.101 This is because the
TA is largely responsible for thickening the vocal folds and is therefore a significant
contributor to the amount of surface area of the folds that make contact during the
adduction phase of phonation.102 If the TA is underutilized and becomes overly
disengaged during phonation, it is possible that the timbral quality of the voice in Mode
2 will become “tinny” and even unpleasant without some degree of TA involvement to
thicken the folds and enhance more harmonics that can then be altered via the sourcefilter theory.103 Therefore, continuing to cultivate TA involvement in phonation may
provide more timbral freedom when manipulating resonance. However, care must be
taken when discussing this concept with transfeminine singers because if the use of their
Mode 1 register causes them gender dysphoria, then cultivating the TA through Mode 1-
dominant exercises may become more a problem than a solution. As with the discussion
about binders, it is advised that the teacher present the potential benefits that
101 Hirner, Interview with Stephen Pitters.
102 McCoy, Your Voice: An Inside View, 163-4.
103 Hirner, Interview with Stephen Pitters.

76
continuing to enhance Mode 1 can have on Mode 2 production, but ultimately it is the
singer’s decision as to whether they are comfortable doing so.104
Resonance
The resonance exercises of the FFP are built upon the principles of resonance
found in GAVCT, primarily the use of formant manipulation to achieve the timbre of the
desired gendered perception (see Exercise Table D, Parts 1 and 2). However, it must be
stated that applying these principles in the manner presented here is a seemingly new
application of these concepts to gender affirming singing pedagogy that must be
researched further through case studies and comparative analyses of vocal tract lengths
to determine the extent of its efficacy (see footnote for more discussion).105 Until such
research can be completed, the exercises presented here are intended to lay an affirming
foundation for TGE singers, and special attention should be paid to the potential pitfalls
that are stated here so that singers’ vocal production remains as healthy as possible
while navigating their “new” voices.
104 Kozan and Hammond, “The Singing Voice,” 297
105 Because of the comparative lack of research in the area of gender affirming speech, and the even lessprevalent existence of research on gender affirming singing, it is unknown if brightening the tone does in
fact correlate to a feminized gendered perception of singing as it does in speech, especially given the wide
variety of singing styles and genres that are possible. Until more research is completed, however,
resonance solutions in the FFP will be guided by timbral goals that are prevalent in GAVCT. If a brighter
timbre is confirmed as desirable in the feminization of the singing voice, then there are only a handful of
structures that can be involved in its manipulation: tongue, jaw, lips, and laryngeal height. Each of these
is key in the manipulation of formants, but tongue position and laryngeal height are particularly crucial.
However, if a “comfortably low larynx” is found to be a non-negotiable for the majority of singing styles as
it is in classical voice, even when pursuing a more feminized tone, then the options for vocal tract length
modification to achieve a brighter timbre will become that much more restricted. In the coming years, a
separate research project will be necessary to investigate this, and it will likely involve gathering data on
laryngeal height and the vocal tract length in countertenors and comparing it to the same parameters in
AMABs who sing in Mode 1. Then it would likely require researching vocal tract length for AFAB and
AMAB mezzo sopranos to determine if there is an overlapping "sweet spot" or gender-neutral zone for
laryngeal height that is similar to the gender-neutral overlap in speaking fundamental that could serve as
a target goal or to provide parameters for flexibility in laryngeal height for the purpose of feminizing the
voice. Finally, it would have to be determined if it is healthy for an AMAB to adjust their laryngeal height
to that overlapped region before finally assessing the efficacy of its effect on the feminine perception of the
singing voice.

77
DM1 and DF1 are original exercises that utilize the benefits of /i/ification for
feminization of timbre and an adapted version of this concept for masculinization,
“/o/ification.” DM1, takes advantage of the rounded lip position, dropped jaw, and lower
tongue posture of /o/ as the first vowel of the exercise, which contributes to lowering F1
and F2 and dampening upper harmonics, especially when used in conjunction with
circumlaryngeal massage and abdominal breathing to increase the length of the vocal
tract. In DM1.1, the singer establishes a good /o/ posture, and then repeats the exercise
while maintaining the open, rounded sensation of the /o/ as they change between the
five primary vowels from dark to light. Care should be taken not to depress the larynx
while maintaining the lower tongue position of /o/, especially on /e/ and /i/, because
the lower tongue position and rounded lips will continue to lower F1 and F2 of those
brighter vowels as well, which may contribute to a more masculine gender perception.
DF1 is similar in execution to DM1, but it seeks to eliminate darker undertones
through /i/ification, which is the concept frequently used in GAVCT. However, the
application of this concept does not come without its challenges because of the inherent
potential to raise the larynx and cause excess tension due to the spread lips and elevated
tongue position that an /i/ vocal tract posture has, which can be particularly
problematic when developing a vocal technique that aligns with classical voice pedagogy
as it requires a comfortably low larynx. Therefore, it is crucial that the initial vocal tract
posture of spread lips only be used in comfortable ranges until the singer is able to
internalize the “smile” sensation, which is the fully realized version of this exercise. By
internalizing the brighter /i/ sensation, the singer should be able to maintain a slightly
elevated lingual posture and round the lips without sacrificing the timbral benefits of
/i/ification on gender perception or elevating the larynx to the point of excess tension.

78
D. Resonance
Exercise Table D, Part 1: Masculinizing
Exercise Steps Intent/Goal Source
1. “/o/ificate”
Your Vowels
Connect /o/ lip and tongue positions and
timbre to other primary vowels.
When moving to vowels with a high tongue
position such as /i/, focus should be on
maintaining a similar rounded sensation and
lower tongue position without depressing the
larynx.
1. Beginning on a comfortable mid-low pitch
in the singer’s target registration, execute
the following:
Adapted the
concept of
/i/ification or
“smile.”
Masculinizing
GAVCT
frequently utilizes
low-back vowels
such as /o/, /a/,
and /u/ instead of
/i/. So here a
similar concept of
/i/ifying the
vowels is applied,
but with the
darker low-back
vowel, /o/.
Exercises created
by Hirner, based
on evidence
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 228.
2. Find the
Weight
Execute the following visualization-related
exercises:
1. Spoken “Santa Claus-like” /ho/ /ho/ /ho/
2. Transfer open, round, weighted feeling to
the following:
Target “a
‘heavier’ or more
masculine tone”
through an open
pharynx.
Exercise created
by Hirner based
on principles
found in the
following source:
Block, Papp, and
Adler,
“Transmasculine
Voice and
Communication,”
163.
Table 2.15: Exercise Table D, Part 1. Resonance Masculinizing Exercises
— “/0/ificate Your Vowels, and Find the Weight. Exercises created and
adapted by Stevie J. Hirner.

79
Ultimately, the goal of DM1 and DF1 is to establish a sensory memory for the
placement and articulatory posture of the target vowel and subsequent resonance. This
is similar to the way that vowel modification is used in singing, but rather than only
modifying vowels for the purpose of formant tuning (utilizing the best vowel to pitch
match to reduce effort in phonation through inertance), “coloring” all vowels with the
target vowel may result in an overall shift in timbre that optimizes the desired gender
perception of the singer’s voice.
Built on a similar principle to DM1, DM2 uses the benefits of /o/ with the added
weight of a phonation like that of the stereotypical Santa Claus laugh, “Ho, ho ho!” The
exclamation that begins the exercise encourages abdominal support and active
involvement that leads into the sustained portion of the vocalise, at which point the
aspirate /h/ onset is eliminated. In DF2, the focus is on the continued cultivation of the
TA as a vehicle to facilitate more efficient Mode 2 phonation. This is accomplished
through sliding arpeggios that begin in a comfortable mid-low Mode 1 register, the goal
of which is make the slide as smooth as possible by maintaining TA engagement
throughout. In the execution of the exercise itself, it is recommended that the singer
begins with a semi-occluded vocal tract posture of their choice (SOVT; or SOVTE for
semi-occluded vocal tract exercise)—e.g., straw phonation, lip trill, /m/, /n/, or /ŋ/.
SOVTEs are found to support ease of phonation through inertance. By using an SOVT,
the sound produced bounces back to the glottis, which helps to equalize the pressure
above the larynx and provide a “kick” that makes maintaining glottal closure easier
during phonation (for additional benefits of SOVT exercises and inertance,

80
Exercise Table D, Part 2: Feminizing
Exercise Steps Intent/Goal Source
1. “/i/ificate”
Your Vowels!
Connect /i/ lip and tongue positions and
timbre to other primary vowels, eventually
working toward the “inner smile” in order to
avoid raising the larynx.
1. Beginning on a comfortable mid-low pitch
in the singer’s target registration, execute
the following:
Built upon the
concept of
/i/ification or
“smile”
When lips are
rounded, focus
should be on
maintaining a
similar forward
sensation and /i/
tongue position
Exercises created
by Hirner, based
on evidence
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 228.
2. Keep them
S[TA]rong!
1. Complete the following vocalises in a
comfortable mid-low to mid-high Mode 1
register, first on an SOVT of choice then
on a vowel of choice while trying to
maintain the ease of phonation achieved
in the SOVT.
2. Complete the same exercises in a midlow to mid-range in Mode 2 register, trying
to maintain a similar voice quality
(placement and clarity)
Maintain glottal
closure and
strength of the
thyroarytenoid
(TA), the primary
muscle involved
in Mode 1
phonation,
through inertive
reactance in
order to support
glottal closure in
Mode 2.
Exercise adapted
by Hirner, based
on interview with
countertenor
Stephen Pitters,
MM
Notation for
exercises taken
from Figure 4-3.
A, B, C, and D,
Ragan, A
Systematic
Approach to
Voice, 109-10.
Kozan, “The
Singing Voice,”
304-5.

81
Some of the
benefits of SOVT
exercises and
inertive reactance
can be found
here: Titze and
Story, “Acoustic
Interactions of the
Voice Source with
the Vocal Tract;”
Meerschman, et
al., “Short-Term
Effect of Two
Semi-Occluded
Vocal Tract
Training
Programs…”
Table 2.16: Exercise Table D, Part 2. Resonance Feminizing Exercises —
“/i/ificate” Your Vowels, and Keep them S[TA]rong! Exercises created and
adapted by Stevie J. Hirner.
see footnote).106 For the purposes of DF2, singing into a straw may be the most ideal
SOVTE because it lengthens the vocal tract and allows for more conscious manipulation
of other factors involved in vowel formation such as tongue and jaw position, which may
allow for the vowel to be practiced prior to the singing the exercise without an SOVT.
However, regardless of whether an SOVT is utilized, concentrating on consistency of
phonation throughout the slide is paramount. Once the exercise has been completed in
Mode 1 (assuming the singer is comfortable utilizing Mode 1), repeating the same
106 Some of the benefits of SOVT exercises and inertive reactance can be found here: Titze and Story,
“Acoustic Interactions of the Voice Source with the Vocal Tract;” Iris Meerschman, Kristiane Van Lierde,
Karen Peeters, Eline Meersman, Sofie Claeys, and Evelien D’haeseleer, “Short-Term Effect of Two SemiOccluded Vocal Tract Training Programs on the Vocal Quality of Future Occupational Voice Users:
‘Resonant Voice Training Using Nasal Consonants’ Versus ‘Straw Phonation,’” Journal of Speech,
Language, and Hearing Research 60 (September 2017), 2519-36. Ingo R. Titze, “The Human
Instrument.” Scientific American 298, no. 1 (2008): 99.

82
technique in Mode 2 is recommended to assist in maintaining glottal closure and
thickening the folds through TA engagement in Mode 2 even though the vocal folds will
be thinner than in Mode 1.

83
CHAPTER 3: ACCOMMODATING VOCAL TRANSITIONS IN CHOIR
As discussed in Chapter 1, voice parts or classifications have inherent gendered
preconceptions: sopranos/altos = women, and tenors/basses = men. Interestingly,
though, these standard voice parts in choir do not always correlate to an individual’s
traditional fach or voice classification, and as a result, singers often find themselves
singing a voice part in a choir that is contradictory to their actual voice classification.
For instance, a dramatic soprano in a chamber ensemble may be asked to sing alto in
order to blend their larger voice with the ensemble without compromising their
technique, or a lyric baritone may be asked to sing tenor 2 simply because there are
more tenors needed in the group! These “real world” circumstances do not mean that
said soprano’s and baritone’s voice classifications are now alto and tenor. Those are
merely the parts they are singing. Because of this, I actually advocate for foregoing the
use of “soprano,” “alto,” “tenor,” and “bass” in choral music in lieu of simply “Part 1,”
“Part 2,” Part 3,” and so forth. Further informative details could be included, such as
standardizing the listing of range and tessitura for each part for each piece performed,
which would provide more functional information when assigning singers to a part than
the usual SATB/SSA/TTBB listings (and their variants). This practice may help to
alleviate the gendered connotations of traditional voice parts in choral ensembles and
may promote additional flexibility of part for all singers in any given ensemble by
lessening singers’ inherent attachment to “being a soprano” (or any other voice part)
when asked to sing a different line depending on the needs of the ensemble or demands
of the music.
This inherent flexibility of voice part can easily be applied to transgender and
gender expansive (TGE) singers as well. As transgender and gender expansive singers

84
who are seeking a vocal transition develop their desired aesthetic through the Flexible
Fach Gender Affirming Singing Protocol (FFP), line recombination may be of use as they
transition between voice parts in their choral ensembles, e.g., a soprano who was
assigned female at birth (AFAB) transitioning to a low-voice section. Line
recombination is a codified method of creating a new, intermediate vocal line by
combining portions of the existing alto and tenor lines in a composition in order to
provide an accessible vocal line that can be sung by individuals seeking to perform a
voice part that traditionally corresponds to their affirmed gender identity without
adding a distinctive new voice part to the music. By developing their voice in a
manageable, healthy range through line recombination and by adjusting their timbre
through the FFP in order to blend, TGE singers can have an affirming singing
experience without the pressure of singing every note in any one part when the ranges of
the parts are more extensive.
Codifying Line Recombination in Mixed-Voice Ensembles
When recombining lines, the most important consideration is the range of the
new voice part. Generally, recombined lines should stay within an overlapped tessitura
of the AFAB lower register and the assigned male at birth (AMAB) upper register. This
allows for the line to encompass a range that can be sung by most individuals, regardless
of sex assigned at birth. Because range varies widely from person to person, even within
the same fach, registration events serve as a better starting point when determining the
range for recombined lines. This is because the locations of registration events are more
consistent within voice classifications, which would imply that there is some degree of
range overlap at those pitch levels.

85
As discussed in Richard Miller’s The Structure of Singing, all voices have at least
one registration event between G3-A4, as shown in Table 3.1.1 Using that information
and the “chest voice” ranges that Miller indicates for upper voices, one can extrapolate
that—on average—most voices have an overlap in range around G3-A4 as well, with the
possible exception of basso profundos who do not have a developed upper register to
sing above their secondo passaggio. To allow for some margin of error, I narrowed this
range even further to try to avoid reaching the extremes of those individuals’ ranges. As
a result, I recommend the range of A3-F#4 for recombined lines with some flexibility for
brief deviations outside of that tessitura—as long as the line does not stay beyond this
limit for extended periods of time or go higher than A4 or lower than F#3, if possible. Of
course, one must consider the difficulty of navigating the passaggi in this range,
particularly for tenors, baritones, and basses, due to potential fatigue and audible
registration shifts. However, recombined lines can be used as an opportunity to develop
a lighter vocal mechanism that will allow them to navigate this challenging tessitura as
they work toward their desired voice part.
The second consideration in line recombination is “singability.” An effort to avoid
extremely disjunct lines should be made, thus creating the smoothest recombination
possible—unless the character of the music calls for a more disjunct approach. Lastly,
one should try to utilize material primarily from the voice part that the singer desires to
perform. If that is not possible due to the nature of the music, a neutral line can be
created. In any recombination, notating the new path through the music may be helpful
to those who are not strong readers, but this is not required of the methodology.
1 Richard Miller’s The Structure of Singing: System and Art in Vocal Technique (New York: Schirmer,
1996), 117, 134-135.

86
Registration Events Across Voice Types
Voice Part Range of Primo
Passaggio
Range of Secondo
Passaggio
Chest Voice Range
(if relevant)
Soprano Eb4 F#5 G3-Eb4
Mezzo Soprano E4-F4 E5-F5 E3-F4
Contralto G4-Ab4 D5 D3-Ab4
Tenor C4-F4 F4-Bb4 Not discussed
Baritone Bb3-B3 Eb4-E4 Not discussed
Bass G3-A3 C4-D4 Not discussed
Table 3.1: Registration Events Across Voice Types. Consolidation of
registration events as discussed in Richard Miller’s The Structure of
Singing: System and Art in Vocal Technique (New York: Schirmer, 1996),
117, 134-135. Miller does not discuss ranges for lower voices, but he does
include “chest” voice range extensions for the upper voices.
Hypothetical Circumstances for Applying Line Recombination
An important note when considering whether to apply this methodology: line
recombination is not a required accommodation for all TGE singers pursuing a vocal
transition. Some TGE singers may not experience vocal dysphoria and therefore may not
pursue transition, or their range and technique may already be developed enough to
facilitate shifting to a new voice part in its entirety. So, to visualize some potential
circumstances one may encounter, I have created a profile of five hypothetical adult
singers for consideration. These principles can, however, also be applied to teenagers,
regardless of whether on hormone replacement therapy (HRT). That said, teenagers’ use
of HRT is quite rare and research on the extent of its impact on the singing voice is
limited, as discussed in Chapter 2.
The first of these hypothetical singers is Sally (she/her), a thirty-year-old trans
woman who has been on feminizing hormone therapy for five years. She is a former

87
baritone, has been training as a countertenor for five years, and currently sings alto I
and soprano II. Because Sally already has training in safely utilizing her upper register
to sing in her desired voice part, there are not any vocal accommodations needed from
the choir director to help her participate in choir apart from awareness of the blending
of timbres—which is the case for any section in a choral ensemble, regardless of whether
its members are TGE.
Then there is Sam (they/them), a twenty-two-year-old, AMAB, nonbinary singer
who has not undergone any hormone therapy. Sam currently sings baritone, but they
want to sing alto because singing in the baritone section causes them dysphoria. For
them, line recombination is a potential solution in order to provide Sam with an
inclusive, alto-dominant option while they learn to navigate their upper register in a
manageable range. It is worth noting that using the term countertenor or falsetto can
potentially cause dysphoria because of the connotation that those terms are male-based.
Instead, using “upper register” is more appropriate.
Tom (he/him) is a twenty-six-year-old trans man who does not plan to undergo
masculinizing hormone therapy, but he does experience vocal dysphoria and would like
to sing tenor in his natural lower register. Contrastingly, Jake (he/him) is an eighteenyear-old trans man who has been on masculinizing hormone therapy for six months and
was not on hormone blockers prior to beginning HRT. He used to sing soprano, but his
voice is already changing, and he has dysphoria when singing in his upper register.
Similar to Sam, both Tom and Jake can benefit from line recombination to serve as a
safe, comfortable vocal option, but in this instance, one would seek to create a tenordominant line instead of an alto-dominant one. This can provide a comfortable,
affirming option for Tom if the tenor line becomes too low, and it can serve as a

88
temporary middle ground for Jake while he navigates his voice change as the effects of
the hormones progress and his register lowers.
Lastly, Jodie (she/her) is a twenty-five-year-old trans woman. She has been on
feminizing hormone therapy for a year and a half and is happy singing tenor. Because
Jodie does not experience vocal dysphoria, she can continue to sing tenor in choir, and
there are no vocal accommodations needed. When considering repertoire to explore the
development and application of line recombination, it was important to include works
that are well-known and frequently performed in the choral community.2 The selections
discussed in the following section encompass a wide range of styles and composers
varying from the Renaissance to the twentieth century, featuring differences in range,
texture, voice leading, and harmonic and rhythmic content in order to provide a
thorough test of the methodology of line recombination. The examples used in initially
codifying line recombination methodology are Sicut Cervus by Palestrina; followed by
Ave verum corpus, K. 618 by Mozart; “Warum,” Op. 92, No. 4, by Brahms; Gloria, No.
II, “Laudamus Te” by Poulenc; and The Seal Lullaby by Eric Whitacre. For clarity of
notation and discussion, all excerpts of containing recombined lines are color coded
with alto-line material in red and tenor-line material in blue only to provide an easier
visual delineation from where the material is borrowed and not as a necessary part of
the methodology. After the initial codification, selections addressing specific potential
challenges are discussed in order to further define the method, including how to
approach line recombination-related solutions in part-specific ensembles.
2 These selections were chosen, in part, through consulting J.B. Watson’s dissertation on highly
recommended repertoire. J. B. Watson, Most Recommended Choral Music: A Survey Of High School
State Choral Festival Repertoire Lists. (Dissertation, 2016), 49,
https://scholarcommons.sc.edu/etd/3801.

89
Example 1: Sicut Cervus by Giovanni Pierluigi da Palestrina
Originally published in the Motectorum liber secundus, 4vv (Second Book of
Motets for Four Voices) in 1584, Sicut Cervus has become one of Palestrina’s most
frequently performed motets.3 The work is scored for SATB a cappella voices, originally
in F major. Today’s performances are often in G major, but the key is flexible as is
common with much Renaissance music. The two to three-minute motet is throughcomposed and features points of imitation that are exemplary of Renaissance style with
entrances overlapping one another and melismas used to emphasize certain words.4
Each phrase of text changes thematically, but the next section typically begins as the
previous is ending. It also contains frequent voice crossings between the inner voices,
which poses unique choices with regard to line recombination.
The recombined line I created for this work is alto-dominant, which tests the
process of line recombination and would make the line ideal for the hypothetical singer,
Sam. To remain congruent with Sam’s desired voice part, the line has been notated on
the treble clef just like the original alto line. The part could also be notated on the tenor
treble clef if desired, but because of the methodology’s determined range, recombined
lines can only have a maximum of three ledger lines when notated on a traditional treble
clef (down to F#3). This line, in its entirety, contains material from the tenor line in only
twenty-two out of fifty-eight measures, and as mentioned previously, the voice crossings
in the inner voices pose some interesting opportunities for line recombination.
For instance, in mm. 13-18 (see Figure 3.1), the alto and tenor line frequently
overlap, and the majority of both lines fall within the designated tessitura of A3-F#4,
3 Lewis Lockwood, Noel O’Regan and Jessie Ann Owens. 2001. “Palestrina [Prenestino, etc.], Giovanni
Pierluigi da [‘Giannetto’].” (Grove Music Online), doi: 10.1093/gmo/9781561592630.article.20749
4 Dennis Shrock, Choral Repertoire (New York: Oxford University Press, 2009), 63.

90
with only a few outliers. Because of this, these six measures could be combined in a
variety of ways, but this particular recombined line illustrates Sam’s preference to sing
the alto line, which happens to remain within the confines of the prescribed range for
the duration of this excerpt. As such, the recombined line stays on the alto line for the
entirety of this example. Had this been a recombined line intended for an individual
who wants to sing tenor, it could remain on the tenor line here instead. In contrast, if I
were to create a balanced line that favors neither part over the other, I would have to
make creative decisions regarding text setting—as illustrated in the example seen in
Figure 3.2, but the actual notes themselves provide great flexibility for any number of
melodic variations.
Figure 3.1: Measures 13-18 of Sicut Cervus with recombined line.
Giovanni Palestrina. Sicut Cervus. ed. James Gibb, 2017. Choral Public
Domain Library.
As seen in m. 20 of Figure 3.2, I switched to the tenor line on the downbeat to
avoid sustaining the G4 that appears in the alto line for such a long period of time.

91
Exactly when to switch to the tenor line, though, is at the discretion of the conductor.
For instance, I have chosen to switch directly to the tenor line on the downbeat of
measure 20, on the final syllable of the word “desiderat.” Some directors or singers
might find this to be an awkward solution due to the potential difficulty of aligning
consonants. So, another potential route one could take in a situation such as this would
be replacing the D4 on the downbeat with a half rest, and then continuing with the alto
line on beat two: the D4 with the word “ad,” as long as careful attention to the placement
of the /s/ on the downbeat from the previous measure is made or they could remove the
/s/ altogether. In either case, the importance of maintaining a singable, satisfying line
that is helpful to the singer is paramount. In all, this selection exemplifies the versatility
of early music with regard to recombination because of the flexibility of performance key
and the similar ranges of the inner voices.
Figure 3.2: Measures 19-24 of Sicut Cervus with recombined line.
Giovanni Palestrina. Sicut Cervus. ed. James Gibb, 2017. Choral Public
Domain Library.

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Example 2: Ave verum corpus, K. 618 by Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart’s (1756-1791) wrote his Ave verum corpus, K. 618, in
the summer before his death, almost eight years after his last religious composition.
Composed for Anton Stoll (1747-1805), the choirmaster in the small town of Baden, its
simplistic texture and singable lines are ideal for the amateur ensemble for which it was
intended.5 Because of this, it is one of Mozart’s most frequently performed choral works.
Originally scored in D major for SATB chorus, violins, viola, cello/bass, and organ, there
are countless modern arrangements of the three-minute, through-composed tune
varying in voicing and performance forces. In its original form, however, the
composition maintains its relatively static vocal lines and primarily homophonic texture
throughout its three distinct sections, which lends itself to limited ranges of the voice
parts, especially for the inner voices.
Because of the nature of the limited ranges of the vocal lines in this work, I
selected Ave verum corpus to demonstrate further flexibility of line recombination to fit
almost any circumstances for TGE singers. This malleability can be easily observed
through examining measures 1-18 of the work in Figures 3.3, 3.4, and 3.5. Figure 3.3
shows these measures with an alto-dominant line, in which the total measures for the
whole piece borrowed from the tenor line in fourteen out of forty-six measures. The
recommended deviations to the tenor line create a singable line that remains within the
prescribed tessitura. The line deviates from the alto line in measures 11-18 because the
original alto line goes beyond the ideal tessitura of A3-F#4 for extended periods of time.
Contrastingly, the tenor-dominant line shown in Figure 3.4, which contains only seven
5 Betsy Schwarm, “Ave Verum Corpus, K 618,” Encyclopædia Britannica (Encyclopædia Britannica, inc.),
https://www.britannica.com/topic/ Ave-Verum-Corpus-K-618.

93
measures of material from the alto line in the entire piece, does not borrow from the alto
line at all in measures 1-18 because the original tenor line is extremely favorable for the
recombined tessitura. Then, Figure 3.5 shows a neutral version, in which the total
recombined line contains eighteen measures from the tenor line and twenty measures
from the alto.
Figure 3.3: Measures 1-18 of Ave verum corpus with an alto-dominant
recombined line. W.A. Mozart. “Ave verum corpus fur gemischten Chor,
Orchester, und Orgel, KV 618.” (Neue Mozart Ausgabe).

94
Figure 3.4: Measures 1-18 of Ave verum corpus with a tenor-dominant
recombined line. W.A. Mozart. “Ave verum corpus fur gemischten Chor,
Orchester, und Orgel, KV 618.” (Neue Mozart Ausgabe).

95
Figure 3.5: Measures 1-18 of Ave verum corpus with a neutral
recombined line. W.A. Mozart. “Ave verum corpus fur gemischten Chor,
Orchester, und Orgel, KV 618.” (Neue Mozart Ausgabe).
This neutral recombined line was created to test the flexibility of this methodology in
order to create as many options for transitioning singers as possible and to demonstrate
the plethora of creative decisions that can be made. All three of these versions are
manageable, singable, and adhere to the guidelines for recombination, which further
goes to illustrate that line recombination can be a meaningful contribution toward
inclusivity in choral ensembles.

96
Example 3: “Warum,” op. 92, no. 4 by Johannes Brahms
Johannes Brahms (1833-1897) wrote two compositions entitled “Warum.” The
first, his op. 74, an a cappella motet scored for SSATB is perhaps performed more
frequently than his op. 92, no. 4, which is discussed here. The latter is scored for SATB
chorus and piano and was published in a group of four quartets, Vier Quartette, in
1884.6 As is typical of Brahms’ music, “Warum,” op. 94, no. 4, is harmonically
explorative, featuring frequent chromaticism as well as asymmetrical phrases. Because
of the extensive ranges (alto: Ab3-Eb5; tenor: D3-G4) and disjunct vocal lines, this twominute selection poses a particular challenge as it relates to line recombination. In this
through-composed work with distinct A and B sections, Brahms also employs
contrasting meters and tempi as well as changes in texture, voice groupings, and
homophony versus polyphony.
When creating a recombined line in this work, the voice leading presents
challenging decision-making because of the ranges and disjunct nature of the lines. As a
result, line recombination may require moments where only one or two notes are taken
from a different voice part in the context of the phrase or text may be repeated or left
incomplete, similar to the previously discussed Sicut Cervus. This can be seen in mm. 8-
12 of Figure 3.6, which features a neutral recombined line, or in mm. 24-25 shown in
Figure 3.7 where only one note out of a measure is borrowed to make the line more
singable. In the effort to create two—both a tenor and an alto-dominant line—it becomes
clear that some recombined lines may yield more balanced results than others.
6 Johannes Brahms, Vier Quartette (Berlin: N. Simrock, 1884).

97
Figure 3.6: Measures 8-14 of Vier Quartette, op. 92, no. 4, “Warum” with
a neutral recombined line. Johannes Brahms. Vier Quartette, op. 92, no.
4, “Warum.” ed. Rafael Ornes, 2000. Choral Public Domain Library.

98
For instance, when creating a tenor-dominant line, I only deviated to the alto line
in five out of fifty-six measures, but when trying to create an alto-dominant line, the
result was a line in which thirty-two out of fifty-six measures contain borrowed material
from the tenor line, thus creating a more neutral line than a part-dominant one and
certainly not an alto-dominant line. This leads one to conclude that the more extensive
the ranges of the voice parts or disjunct that melodies are, the more likely it is to require
the creation of a neutral line instead of a part-dominant one, and this idea is explored
further in the next selection from Poulenc’s Gloria.
Figure 3.7: Measures 24-25 of Vier Quartette, op. 92, no. 4, “Warum”
with a neutral recombined line. Johannes Brahms. Vier Quartette, op. 92,
no. 4, “Warum.” ed. Rafael Ornes, 2000. Choral Public Domain Library.

99
Example 4: Gloria, No. II, “Laudamus Te” by Francis Poulenc
Gloria by Francis Poulenc (1899-1963) was written in 1959-1960, and is a unique,
arguably irreverent take on the traditional Catholic text, but it has still become a notable
standard in choral repertoire.7 The recombined line is shown in Figure 3.8, but this
composition—which is scored for soprano solo, SATB chorus and an orchestra—
represents Poulenc’s playful melodic and rhythmic style with unexpected text emphasis,
mixed meter, and regular chromatic alterations.
The short, cellular phrases of the three-and-a-half minute “Laudamus Te” often
feature voice pairings of alto and bass or soprano and tenor across its three sections and
coda, and the extensive ranges, particularly for the alto, pose unique challenges. When
recombining the tenor and alto lines, it becomes evident that a part-focused
recombination would not be achievable. Instead, it is more important to create a
singable line, and the result is a neutral recombined line, containing thirty measures of
material from the alto line and thirty-three measures from the tenor. When dealing with
music of this complexity, similar to the Brahms’ “Warum,” the versatility of a neutral
line cannot be denied. This flexible solution puts vocal health at the forefront of the
decision-making process while still providing an inclusive alternative for TGE singers.
That said, in measures where multiple viable options exist, another possible solution
would be to notate both parts on the recombined line, especially in homophonic texture,
thus allowing the singer to take their most gender affirming solution where possible.
7 Huscher, Phillip. “Program Notes: Francis Poulenc, Gloria.” (Chicago Symphony Orchestra),
https://cso.org/uploadedFiles/1_Tickets_and_Events/Program_Notes/ProgramNotes_
Poulenc_Gloria.pdf.

100
Figure 3.8: Measures 75-85 of “II. Laudamus Te” with a neutral
recombined line. Francis Poulenc. “II. Laudamus Te,” Gloria: pour
soprano solo, choeur mixte et orchestre réduction piano et chant. Paris:
Salabert, 1960.

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Example 5: “The Seal Lullaby” by Eric Whitacre
When discussing contemporary choral music, the influence of Eric Whitacre (b.
1970) cannot be denied.8 The four-minute composition is scored for SATB chorus and
piano, and the composition is characterized by wave-like motion with emphasis on
downbeats, and the application of disjunct, parabolic lines to create “waves” throughout
the four sections of through-composed music. Although still containing disjunct lines,
the ranges of the voices are far less challenging than Poulenc’s Gloria, which provides
more flexibility when creating the recombined line, because, while voice crossing does
not occur, there is a regular overlap between the ranges of the inner voices for the
majority of the work (alto: Ab3-Bb4; tenor: C3-Eb4).
Building off the lessons learned from the Brahms and the Poulenc recombined
lines, I opted to create a neutral line rather than focusing on a part-specific recombined
line as an example of the flexibility of expression and musicality that line recombination
affords. A work such as this allows for a variety of creative possibilities as exemplified in
mm. 23-27 of Figure 3.9. In these measures, the ranges of the alto and tenor lines
overlap almost entirely, and when combined with the disjunct, wave-like melodic shape,
the parts allow for any number of decisions when creating the recombined line.
In cases like this, the final iteration may come down to the directors’ or the
singers’ preference as there are countless possible solutions. This flexibility provides an
opportunity to stray away from phrase-focused recombination, as seen in Mozart’s Ave
verum corpus, thus creating a line that can change note to note rather than using whole
phrases or complete measures if one so chooses. In this version, forty-one out of
8 Shrock, Choral Repertoire, 760.

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seventy-seven measures contain material from the alto line, thirty-one from the tenor,
and eight measures contain material from both lines interchangeably, still leaving room
for further possible recombinations.
Figure 3.9: Measures 23-31 of “The Seal Lullaby” with a neutral
recombined line. Eric Whitacre. “The Seal Lullaby.” In Selections from
Light & Gold for SATB Chorus. London: Chester Music Limited, 2008.

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Additional Considerations in Mixed-Voice Ensembles
The preceding exploration of line recombination further defined the three
preliminary tenets of the methodology that are widely applicable throughout a variety of
choral repertoire to include the following:
1. General range should be limited to A3-F#4
a. Allow for brief passages expanding as far as F#3-A4 (a minor third
above and below the general guideline).
9
b. Deviations below A3-F#4 are less likely to present potential issues
with blend or fatigue when compared to those above it.
2. Transitions between lines should aim to maintain smooth voice
leading unless the style of the music fits a more disjunct approach.
a. Transitions can be measure to measure, phrase to phrase, or even
note to note.
b. If a transition occurs in the middle of a word, the performer can
opt to split the word or to make it a rest instead and re-enter on
the next complete word.
3. The identity of the singer should be considered, when possible, by
creating a part-dominant line.
a. Stagnant lines with limited ranges best facilitate this, especially
when divisi is present.
b. Disjunct lines or extended ranges, particularly of the alto line, may
limit the ability to create a part-dominant line, opting instead for a
neutral line.
c. When creating a neutral line with brief homophonic passages
where the alto and tenor are similar in range, indicating both
options on a notated recombined line can provide the singer with a
momentary part-specific choice.
4. Depending on the music reading ability of the singer, notating a line
separately may not be necessary, but it can be helpful for a more
novice student.
a. If choosing to notate the part, preference should be given to
notating it on the clef that is more common to the desired voice
part of the singer.
9 Expansion of the range is, of course, largely dependent upon the singer’s individual range and comfort
with an expanded tessitura, but as a general rule, adhere to this foundational major sixth.

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While these general principles cover a great number of circumstances, there are other
factors that can impact decisions for line recombination such as:
1. Unison
2. Fugues (particularly those with melismas)
3. Part-specific ostinatos
4. Texture/orchestration
5. Dynamics
6. Genre
Unison
Example 6: Messiah, “Chorus: For Unto Us a Child is Born” by George Frideric Handel
The first of these factors is explored in the excerpt shown in Figure 3.10 from
Messiah (1741) by George Frederic Handel (1685-1759), which features the tenor and
alto parts from mm. 12-26 of the eleventh movement, “Chorus: For Unto Us a Child is
Born,” with added parentheses for the notes outside of the ideal sixth for line
recombination. In this example, the tenor presents the subject of the fugue, which is
then answered by the alto in the dominant, as to be expected. In a situation such as this,
where the range of the line expands beyond the defined parameters, but there is no
alternative part to recombine, decisions about what the singer should perform should be
made on a case-by-case basis.
For example, if a transmasculine singer has a robust chest voice and already has
access to the majority of the notated pitches, there is no need for recombination of any
of the indicated parts. Conversely, if they do not have access to that lower extension,
they may have to choose between singing lightly to facilitate healthy production as low
as possible, lip syncing for the pitches out of their range, or singing the alto answer
instead. In the case of a transfeminine singer, however, attempting to sing lightly in an

105
upper register may lead to excess laryngeal tension, and if singing the line is only
attainable when singing loudly, blend may become an issue. Similar to the previous
example, singing the tenor subject or lip syncing is a potential solution for moments
such as these.
Figure 3.10: Measures 12-26 of Messiah, No. 11, “Chorus,” tenor and alto
lines, annotated by Stevie J. Hirner. George Frederic Handel, Messiah,
HWV 56, (Stuttgart Handel Editions Urtext, Partitur/Full Score. (Carus
55.056), 1741).
Another potential option in both situations, at the discretion of the conductor,
could be the use of octave displacement. This is a solution that will be explored further
in the discussion on part-specific ensembles. However, if opting for octave
displacement, there are some general considerations: adjusting to the octave below
(8vb) may be preferential to the octave above (8va) as it is less likely to impact blend,
and when opting for 8va, the FFP should be consciously applied to the vocal production
in order to impact overall timbre of the section as little as possible.

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Melismas
Another example from Messiah that illustrates a common challenge that may be
presented is that of navigating a melisma in which part of the line is in an accessible
range and part of it is not. Measures 73-9 from “For Unto Us a Child is Born” are shown
in Figure 3.11 with an alto-dominant recombined line. Alto-dominant was chosen for
this selection due to the tenor line lying entirely within the prescribed range for line
recombination. Although the first two measures lie at the upper extent of the prescribed
range, they may be accessible to the majority of TGE singers looking to feminize their
voice, especially if incorporating the principles of the FFP. In the event they are not, the
singer would have to opt for the tenor line for this phrase. However, to incorporate as
much of the alto line as possible, finding a pivot point that allows for a smooth
transition between parts is key. In the third measure of the example, I have chosen to
continue through the first two beats of the melisma, followed by the eighth rest and
subsequent change to the tenor line. Conveniently, this choice also allows for a brief
reset of the mechanism before switching out of the melisma.
When returning to the melisma in the fifth measure of the excerpt, some
additional considerations must be taken into account regarding the quarter note “us” on
the downbeat. First is whether to sing “us” at all. The singer could simply omit “us”
altogether and reset for the melisma with a quarter rest on the downbeat or even omit
the entire “unto us” to include the pickup as well. This would facilitate a smooth
transition back into the melisma on beat two. The second consideration is whether to
include the final consonant of “us” or the initial consonant of “born.”

107
Figure 3.11: Measures 73-79 of Messiah, No. 11, “Chorus,” with altodominant recombined line by Stevie J. Hirner. George Frederic Handel,
Messiah, HWV 56, (Stuttgart Handel Editions Urtext, Partitur/Full Score.
(Carus 55.056), 1741).
My preference would be to elide the /s/ to beat two to align with its placement by
the tenor section, which may provide a rhythmic impetus into the return of the melisma
and the vowel transition. One could also remove the /s/ entirely and shift the /ʌ/ of “us”
to the /o/ of “born” without a rest, but this may lead to a lack of rhythmic clarity
depending on the ability of the singer. Lastly, one must decide whether to omit the /b/
of “born” and join the melisma directly on the vowel /o/, or to include it. Including the
/b/ may provide a similar rhythmic impetus to the start of the melisma as with the
inclusion of the /s/, but because no other voice part includes a /b/ sound at that time,

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there is the potential that it could disrupt the composite sound. However, with a small
number of singers performing the recombined line, this may not be an issue.
Ostinatos
Example 7: Elijah Rock by Moses Hogan
The next factor to consider is that of part-specific ostinatos. An excellent example
of this is the vamp section from Elijah Rock (1994) by Moses Hogan (1957-2003). There
are two potential solutions in this instance, as shown in Figure 3.12. Throughout this
work, the tenor line lies entirely within the prescribed range for line recombination; so,
this excerpt contains an alto-dominant recombined line. There are several factors to
weigh when navigating these ostinati. For instance, one must determine whether it is
too disruptive or confusing to switch between varied ostinati of two different parts.
However, if the pivot point is chosen carefully to facilitate a smooth transition, the
potential confusion may not be a factor at all. The alto two line in this excerpt does sit
within the prescribed range, but the decision to recombine here was made based on a
hypothetical singer who may struggle to consistently produce the required A4 on “comin’” and to illustrate two potential solutions if faced with similar issues in other works.
In option one, the usual alto to tenor recombination is shown to include “Oh, Elijah” in
the middle of the second measure in the excerpt.
However, if that is too disruptive or if the singer would prefer to remain grouped
in the soprano/alto ostinato, then the option for an octave displacement presents itself
as seen in option two. Notated in green, the soprano one part for “comin’ up” is notated
8vb its original pitch, and because of the thickness of the texture and it being a lower

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octave displacement, the chance of a negative impact on the timbre or audience’s
perception is likely quite small.
Figure 3.12: Measures 15-16 of Elijah Rock, two options for altodominant recombined lines by Stevie J. Hirner. Moses Hogan, Elijah
Rock, (Milwaukee, WI: Hal Leonard Corporation, 1994).

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Texture and Orchestration
Example 8: Messa da Requiem, “Libera Me” by Guiseppe Verdi
The next circumstance to consider when deciding whether to recombine a line is
related to instrumentation and dynamics and additional flexibility to range that larger
performance forces may provide. In Figure 3.13, I have provided the alto and tenor lines
found at rehearsal F (beginning in the last measure of the first system shown) in the
“Libera Me” from Messa da Requiem (1874) by Guiseppe Verdi (1813-1901). If adhering
to the recombined line parameters as previously defined, only the notes shown in the
red squares would be accessible to the alto, which will either lead to rather awkward
voice leading when recombining, or having the singer perform the tenor line instead.
However, there are other factors at play in this excerpt that may allow the singer to
perform the alto line in its entirety—namely the density of the instrumentation in this,
the final movement of the choral/orchestral masterwork and the fortissimo dynamic of
all of the performance forces. Because of this, having an AMAB alto perform the written
alto line may not be problematic as it relates to blend because singing more loudly,
which tends to make that upper range more accessible, is not an issue here, and they can
maximize the potential for blend by applying the resonant principles of the FFP to
further support this approach.

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Figure 3.13: Verdi’s Requiem, No. 7, “Libera Me,” tenor and alto lines,
Rehearsal F. Giuseppe Verdi, Requiem for Four Solo Voices and Chorus,
Ed. 180, (Milwaukee, WI: G. Schirmer, Inc, 1874), 189-90.
Contemporary A Cappella
The final example I would like to introduce for mixed-voice ensembles is in the
realm of contemporary a cappella. This unique genre, which has grown in popularity in
recent years with renowned TV shows such as The Sing-Off, allows for what is perhaps
the most malleable of voicings in ensemble singing. Many a cappella groups perform

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one-on-a-part and write their own arrangements of popular tunes, such as Pentatonix or
Home Free (each ensemble was the winner of their respective seasons of The Sing-Off).
Because of this, most a cappella groups do not necessarily adhere to the standard
voicings one might find in traditional choir, many of which opt for a lead singer plus
accompaniment figures and melodic harmonization from the backup singers plus a
beatboxer. Which members perform which parts is often dependent on the nature of the
song being covered or the group’s individual abilities. For instance, in addition to the
fluidity of the beatboxer from Pentatonix, who also sings baritone, their “alto” is an
AMAB countertenor named Mitch Grassi who also sings tenor, and this is to say nothing
of the fact that a number of their arrangements feature frequent voice crossings. Though
this one-on-a-part approach is not a requirement of the genre, this flexibility of voicing
has permeated the style’s arrangements, as seen in the excerpt provided in Figure 3.14
and in the discussion about part-specific ensembles.
Example 9: “Somebody to Love” by Freddie Mercury, arr. by Vince Peterson
This example features mm. 16-22 of Vince Peterson’s (n.d.) 2011 arrangement for
the professional choral ensemble, Chanticleer, of the hit song “Somebody to Love”
(1976) by Freddie Mercury (1946-1991) and the British rock band, Queen. Even though
this arrangement divides into nine separate parts in this particular excerpt, it is still not
one-on-a-part for this ensemble, and this arrangement is often performed by choral
ensembles as well. Because of the way the voices are used, Peterson’s arrangement is an
excellent example of the malleability of the voices of the genre for a variety of reasons.
First is that Chanticleer (the intended ensemble for the arrangement) is primarily a low-

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voice ensemble with individuals who also sing countertenor; so, there is already
inherent flexibility in their voicing.
Figure 3.14: Measures 16-22 of “Somebody to Love.” Freddie Mercury,
“Somebody to Love,” arranged by Vince Peterson (Vince Peterson, 2011).

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Furthermore, in the ostinati established in mm. 16-17, both the alto one and alto
two parts contain pitch content higher than the indicated soprano part. Additionally, the
tenors’ three-part divisi in m. 21 is actually an exact doubling of the sopranos’ divisi.
Essentially, this illustrates that the way voices are used in this style breaks standard
range distribution and expectations. Which singer performs each part is entirely
malleable depending on the arrangement itself, the singer’s capability, and the role they
play in the setting of the tune (lead, accompaniment, melodic harmonization, or
rhythm) and is not dependent on a designated soprano-alto-tenor-bass delineation (see
Appendix F for an updated summary of line recombination methodology in mixed-voice
ensembles and Appendix G for a sample of a recombined line for an entire piece).
Exploring Line Recombination in Part-Specific Ensembles
With the methodology for line recombination in mixed ensembles now more
clearly defined, it is apt to explore adaptations for TGE singers in part-specific
ensembles. Similar to gendered connotations of voice classifications, part-specific
ensembles also carry with them significant traditions of gender-based divisions: treble
ensembles are associated with women, and low-voice ensembles are associated with
men. Each of these ensemble types carries a rich history of singing traditions, and by degendering the ensembles, I am not looking to discount the importance of those histories.
Instead, creating a more gender inclusive approach to these voicings is an homage to
and an enhancement of the affirming experiences that individuals, whether cisgender or
TGE, generally experience in part-specific ensembles. By being more inclusive, directors
are only expanding access to those affirming experiences instead of limiting the
individuals who are privy to them.

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“Line recombination” in part-specific ensembles is, perhaps, not an accurate
description of the process of including TGE individuals in that it seldom involves
borrowing material from another voice part, and when it does, it is usually in the form of
octave displacement, not an exact pitch content borrowing. Ultimately the question that
must be answered is: are octave displacements “acceptable” accommodations in the
context of part-specific repertoire? Interestingly, because part-specific ensembles often
include frequent divisi in more limited ranges (treble range vs. low voice),
recombination or octave displacement is usually not necessary because, as previously
established, divisi limits the ranges of the voice parts. This is quite friendly to TGE
inclusion, whether the individual wants to sing tenor or alto because upper tenor parts
and lower alto parts often fall in the recombination ideal and expanded ranges. So, when
combined with the Flexible Fach Protocol, TGE singers can (generally) join a partspecific ensemble quite easily. To illustrate this, the following discussion contains
examples in which line recombination is not necessary as well as those where
adjustments may be required.
Examples 10 and 11: If Ye Love Me by Thomas Tallis and
What Ails My Darling? by Morley
The first examples I would like to provide can be found in Figures 3.15 and 3.16:
If Ye Love Me (1560) by Thomas Tallis (1505-1585) and What Ails My Darling? (1593)
by Thomas Morley (1557-1602). Similar to Palestrina’s Sicut Cervus discussed
previously, music from the Renaissance is quite friendly to gender expansiveness due to
the flexibility of key and overlapping of ranges in the inner voices. In part-specific music
overlapping inner voices is not a factor for line recombination due to trying to

116
accommodate the highest part of a low-voice ensemble and the lowest of a treble
ensemble. In addition, the resulting divisi of the part-specific voices makes this music
friendly to line recombination due to condensed ranges, and flexibility of key is still
quite relevant.
Figure 3.15 shows the original key and voicing for If Ye Love Me: C major, AATB.
However, because this is not a common voicing today, when in C major this piece is
frequently scored as TTBB instead because the original alto lines each span F3-G4,
which is a more common range for modern tenors. That said, F3-G4 almost perfectly
aligns with the ideal and expanded ranges for line recombination. As such, there is no
line recombination needed and an AFAB TGE singer could easily assimilate into the
performance of a piece like this, especially when also incorporating the relevant
resonance principles of the FFP—more on this in the next section that focuses on lowvoice ensembles.
“What Ails My Darling,” the eighteenth canzonet in its 1593 publication:
Canzonets: Songs to Three Voices, is an excellent example of a secular treble work from
the Renaissance, which was actually quite an uncommon voicing. It features frequent
points of imitations, which are to be expected, and once more: the actual performance
key is flexible. That said, the scoring shown in Figure 3.16, which contains the first
nineteen measures of the work does feature the original key of F major. In this key, the
range of the lowest voice is F3-C5, with the exception of the two portions indicated in
the red squares, the range of the rest of the work is F3-A4. This is once more ideal for
line recombination. So, the only decision in terms of accommodation is what to do in
those two measures that ascend to C5. The simplest solution would be to displace those
portions an octave below if the singer is not able to perform those two brief phrases by

117
Figure 3.15: If Ye Love Me by Thomas Tallis. Thomas Tallis, If Ye Love
Me, ed. Seth Engel, (Choral Public Domain Library, 2022).

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Figure 3.16: Measures 1-19 of “What ails my darling,” from Canzonets:
Songs to Three Voices by Thomas Morley. Thomas Morley. “What Ails My
Darling,” Canzonets: Songs to Three Voices, No. 18 (London: Thomas
Este, 1593. Ed. James Gibb, 2012, Choral Public Domain Library).

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applying the resonant principles of the FFP (more discussion on the validity of octave
displacements to follow). Alternatively, they could leave out the notes on Bb4 and C5,
but in general, Renaissance choral music demonstrates once more its friendliness to
TGE inclusivity and vocal accommodation.
Recombination in Low-Voice Ensembles
Generally, the principles of TGE inclusion in low-voice ensembles are largely
built upon the foundation of the masculinizing exercises from the FFP: 1) relaxed Mode
1-dominant phonation, 2) lowered laryngeal reposturing, 3) firmer articulations and
onsets, 4) darker timbre through rounded posture and constriction in the pharynx. With
these principles in mind, the AFAB TGE singer will more successfully assimilate into the
usual timbres associated with tenors and basses in low-voice ensembles, which is
especially important when singing in a higher tenor range. With the appropriate timbre
through a relaxed production established, the remaining factor in AFAB TGE singers
joining a tenor section is that of range. Without the option to recombine a line with an
existing alto part, alternative solutions need to be presented to include these singers. In
the standard TTBB voicing that many low-voice ensembles use, this tends to be a nonissue. However, unison low-voice music tends to be less accessible.
Examples 12 and 13: “The Prisoner’s Chorus” by Ludwig van Beethoven and
“For He is an Englishman” by William Gilbert and Arthur Sullivan
To address this, I have provided two examples here. The first is an excerpt from
“The Prisoners’ Chorus” from Fidelio (1805) by Ludwig van Beethoven (1770-1827), and
the second is from “For He is an Englishman” from H.M.S. Pinafore (1878) by William
Gilbert (1836-1911) and Arthur Sullivan (1842-1900). Each of these excerpts feature

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unison lines with varying contexts. The Beethoven (beginning in the fourth measure of
Figure 3.17) is in a lower register that is rather inaccessible to most AFABs (C#3-E3).
Because of this, the only accommodating solutions are either to displace the fourmeasure phrase up one octave or to have the singer omit that phrase entirely. Omission
is less ideal in the interest of inclusivity, but it is the simplest option. The 8va solution in
a situation like this would, however, be imperceptible because of the thick texture of the
orchestration and the robust sound that is inherent to an opera chorus. An additional
consideration that supports displacing the octave is that the transposed line will still
firmly be in a range that is typical of cisgender tenors and basses, which better facilitates
Figure 3.17: Measures 129-33 of Fidelio, Act I, No. 10, Finale “Prisoners’
Chorus,” by Beethoven. Ludwig van Beethoven, Fidelio, Op. 72 (Leipzig:
C.F. Peters, 1805), 118.

121
the line being perceived as a natural part of the tenor bass texture versus a higher, more
treble transposition might.
In the case of Pinafore, however, the solution is not quite as straight forward. The
range of the excerpted melody, shown in Figure 3.18, spans D3-D4. If this line were to
be transposed up an octave, it would firmly sit in a traditionally treble register and
would be far more likely to stick out of the texture, regardless timbral alterations. To
accommodate for this, I have notated the selected transpositions in green with the
original pitch content in blue. Here I opted only to transpose when the resulting
transposition remained within an accessible tenor register and if the original pitch
material deviated beyond the expanded range of line recombination. The result is a line
that is a bit more disjunct than the original, relatively parabolic melodic shape, but it
follows a consistent pattern, and the transposition in the last two measures of the
excerpt could heighten the energy of the cadence.
Some conductors may express concern about altering the melody in this way
because it is “inauthentic” to the composer’s original vision or because the upper octave
may be perceived by the audience. But whether to offer an accommodation like this can
be distilled to whether the conductor prioritizes offering a performance that rigidly
adheres to every aspect of the composer’s intent or to prioritize the inclusivity of all their
singers. Ultimately, the impact of an adjustment such as this on the overall performance
is nominal, if perceptible at all, and is a worthy approach to provide valuable, affirming
music opportunities to as many singers as possible.

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Figure 3.18: Measures 117-26 of H.M.S. Pinafore, Act II. No. 18, “For He
is an Englishman,” by Gilbert and Sullivan; unison tenor/bass with
recombined line by Stevie J. Hirner. W.S. Gilbert and Arthur Sullivan,
H.M.S. Pinafore; or, The Lass that Loved a Sailor (The Gilbert and
Sullivan Archive Edition, 2005. https://www.gsarchive.net), 132.
Example 14: “Zigeunerlied” by Felix Mendelssohn
The following examples represent various genres of TTBB repertoire in which no
line recombination is needed. It is likely in TTBB repertoire for no adjustments to be
needed because of the nature of a 4-part divisi being standard in the lower voices, which
generally pushes the tenor one part higher and limits its overall range. The first of these
is Vier Lieder, Op. 120, No. 4 “Zigeunerlied” (first published in 1873, date of
composition is unknown) by Felix Mendelssohn (1809-1847). One of thirty-eight
compositions for TTBB that Mendelssohn composed between 1820 and 1847,
“Zigeunerlied” is an excellent representation of the impact on general range and
tessitura of TTBB voicings in classical music. Figure 3.19 shows a scan of the first page
of the Breitkopf and Härtel printing from 1875 in which the range of the first tenor is

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Figure 3.19: Measures 1-43 of Vier Lieder, Op. 120, No. 4 “Zigeunerlied,”
Felix Mendelssohn, Vier Lieder, Op. 120. ed. Julius Rietz. (Leipzig:
Breitkopf & Härtel, 1875), 4 (28).

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D3-G4. At first glance, this range may seem to present an issue for AFAB TGE singers,
but the only occurrence of D3 is in the sixth measure of the third system, and it is
approached by a descending tenth from F#4. If one observes the range of the line and
omits the D3, then the range is G3-G4, which sits comfortably in the range of line
recombination, rendering the majority of the work accessible to most AFAB TGE
singers. The solution for the D3 would lie in similar accommodations as previously
discussed regarding the Beethoven or Gilbert and Sullivan, but again, any temporary
adjustment needed would have a nominal impact, if any, on the corporate sound of the
ensemble and the audience’s experience of the work, especially if the FFP is practiced.
One cannot discuss part-specific choral music without acknowledging the rich
tradition of barbershop singing. According to the Barbershop Harmony Society,
“[b]arbershop is a style of arranging in close, four part, a cappella harmony; it is not an
era, style of music, or genre. The melody is usually in the second voice with harmony
above and below.”
10 Beginning as an African American folk art in the mid-1800s as
communal singing, particularly in tenor and bass voices, barbershop quartets and
arrangements have expanded to include SSAA and SATB voicing as well. The standard
ranges of barbershop arrangements can be seen in Table 3.2 below.
11 Regardless of the
voicing in which the setting is scored, the voice parts in barbershop are always referred
to as Tenor, Lead, Baritone, and Bass from the highest to lowest voice, and this
reference is extrapolated to other voicings by maintaining the same order from highest
to lowest. The cells highlighted in green on the table indicate the voice parts and ranges
which are similar to the ideal range of line recombination.
10 “What is Barbershop Music?” Barbershop Harmony Society, 2024. https://www.barbershop.org/
music/about-our-music.
11 Ibid.

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Standard Barbershop Ranges by Voicing
Voicing Tenor
(highest voice)
Lead
(melody)
Baritone
(middle harmony)
Bass
(lowest harmony)
TTBB Bb3-Bb4 D3-F4 Bb2-F4 F2-Bb3
SSAA G4-F5 A3-C5 A3-C5 Eb3-D4
SATB C4-D5 F3-A4 Eb3-G4 A2-D4
Table 3.2: Standard Barbershop Ranges by Voicing according to the
Barbershop Harmony Society. Consolidated by Stevie J. Hirner.
Example 15: “One More Song” by Joe Liles
As is clearly shown, barbershop singing is extremely accessible TGE singers of
any voicing due to its unique structure and voicing practices. Figure 3.20 shows how a
barbershop song is traditionally notated in TTBB and SSAA voicings. This excerpt
features two settings of the first four measures of One More Song composed by Joe Liles
(1930-2021) who was one of the most influential figures in barbershop throughout the
twentieth century and into the twenty-first.
The first iteration features the standard TTBB voicing which is scored on an 8vb
treble clef for the tenor/lead and bass clef for the baritone/bass. For the SSAA voicing,
shown in the second iteration, the key has been transposed up a perfect fifth, the
tenor/lead are notated on a standard treble clef, and the baritone/bass are notated on an
8va bass clef. This notation allows for relatively simple transpositions to be made and
maintains similar clef scoring, regardless of voicing. This flexibility of performance and
notation practice is a brilliant solution to maintaining and honoring the tradition of
barbershop’s origins while also adapting to be as inclusive of as many singers as
possible, no matter the part they sing.

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Figure 3.20: Measures 1-4 of One More Song, arranged for “male” and
“female” voices. Joe Liles, One More Song and One More Song: Arranged
for Female Voices (Nashville, TN: The Barbershop Harmony Society, Joe
Liles, 1999).
Recombination in Treble Ensembles
Similar to the principles upon which TGE inclusion in low-voice ensembles are
built, TGE inclusion in treble ensembles is greatly aided by practicing the feminizing
exercises from the FFP: 1) relaxed Mode 2-dominant phonation and mixing Mode 2 into
ranges usually sung in Mode 1, 2) comfortable laryngeal height, but not lowered, 3) light
articulations and onsets, 4) allowing for a brighter timbre and more gentle tone in lower

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ranges with a warmer timbre in higher ranges. When transposing portions of any lines
down an octave, the singer should avoid switching into a Mode 1-dominant phonation as
that abrupt shift in timbre may negatively impact blend. Instead, maintaining Mode 2 or
modal mixture is preferred.
Example 16: “Vögelein durchrauscht die Luft” by Johannes Brahms
The first example of treble line recombination is Liebeslieder-Walzter, Op. 52 No.
13, “Vögelein durchrauscht die Luft” (1868) by Brahms who was also a prolific composer
for treble ensembles as part of his extensive body of work. Shown in Figure 3.21, I have
notated the original soprano and alto parts of the work and have added a recombined
line underneath. Because this work is in two parts instead of the standard SSA or SSAA,
the ranges are more extensive than they otherwise might be when more divisi is present.
So, because of the range of the alto part in the excerpt (C4-Db5), line recombination is
likely necessary if the singer is unable to perform the part as written, whether due to
blend, stamina, or range limitations. I have shown a potential solution by recombining
the soprano and alto lines together with octave displacement. Pitches displaced by an
octave are taken from the soprano line and are shown in green with the original alto
pitches in red.
Displacing select portions of the soprano line is a relatively simple solution.
When transposing down an octave, the timbral impact is not nearly as significant as in
the 8va transpositions in low-voice recombination because generally audiences’ ears are
drawn more toward the upper pitches. By using this to the singer’s advantage and
applying the principles of feminizing the singing voice found in the FFP, the singer can
navigate the piece with relative ease by prioritizing blend and consistency of mode.

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Figure 3.21: Liebeslieder-Walzter, Op. 52, No. 13, “Vögelein
durchrauscht die Luft,” by Brahms; soprano and alto with recombined line
by Stevie J. Hirner. Johannes Brahms, “Vögelein durchrauscht die Luft,”
Liebeslieder-Waltzer, Op. 52, No. 13 (Berlin: N. Simrock, 1868).

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For instance, if the singer were to try to perform this example in Mode 1, the robust
sound produced would be immediately perceptible in the context of the ensemble, but if
maintaining a healthy Mode 2-dominant mix, the singer’s timbre will be more
consistent across their range and blend with the ensemble will be optimized.
Example 17: Ave Maria by Johannes Brahms
The next example, also by Brahms, features mm. 72-84 of his Ave Maria (1858)
written for SSAA chorus and orchestra. Similar to the excerpt from Verdi’s “Libera Me,”
there is a textural and orchestral consideration to be made here. Throughout the piece,
generally no recombination is needed with the potential exception of this phrase, which
contains less divisi than the majority of the work. Once more, less divisi means that
there will likely be a need for line recombination. However, because of the forte dynamic
and orchestral accompaniment, it is quite possible that no recombination would be
needed. The singer may be able to perform the C5 in the fifth measure of the example
without negatively affecting blend because singing louder with a more robust production
in that range is often easier, and when adjusting to maintain a warm timbre so that the
sound does not become strident, the line may very well be accessible. That said, if line
recombination is necessary, I have offered a potential solution below in Figure 3.22 that
is built upon the same principles established in the previous Brahms excerpt: displace
the soprano one 8vb to maintain as close a voicing as possible and produce the sound
according to the feminizing approach in the FFP.

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Figure 3.22: Measures 72-84 of Ave Maria, Op. 12, by Brahms; soprano
and alto with recombined line by Stevie J. Hirner. Johannes Brahms, Ave
Maria, Op. 12. (Winterthur: J. Rieter-Biedermann, 1861).
Example 18: When the Earth Stands Still by Don Macdonald
When considering the option of octave displacement, there may be some who are
reluctant to do so—possible because this sort of accommodation is most frequently
utilized in middle school-aged ensembles. Because of this there may be the perception
that octave transpositions have no place in performances or ensembles of a “higher
caliber.” However, I would like to offer the following example shown in Figure 3.23. This
is the opening phrase of When the Earth Stands Still (2016), an original composition by
contemporary composer Don Macdonald (b. 1966). Like many modern compositions,
there are several voicings available for this work, but shown here is a consolidated

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engraving of the SSAA arrangement (original scoring on the first two lines) with a
transcription of a part as performed by one of the singers in the professional treble
ensemble, Lyyra—a six-voice ensemble “created by The VOCES8 Foundation to build
support and visibility for upper voices and their potential.”
12
Figure 3.23: Re-engraving of measures 1-5 of When the Earth Stands
Still for SSAA Chorus by Don Macdonald with lowest voice in Lyyra
transcribed by Stevie J. Hirner. Don Macdonald, When the Earth Stands
Still (Galaxy Music Corporation, 2016).
In the ensemble’s online debut on February 16, 2024, Lyyra’s performance of
Macdonald’s piece was posted to YouTube and has been well received in the short time
is has been available.13 What is striking about this performance is that, while they are
performing the SSAA arrangement of the work, they are utilizing octave transpositions
in the lowest voice, which are a combination of transpositions of the inner voices
(Soprano 2 and Alto 1) with the written Alto 2 line. This performance demonstrates that
octave transpositions do not need to be interpreted as “lesser than” or detrimental to the
12 “Welcome to Lyyra,” The VOCES8 Foundation, 2024. https://www.lyyramusic.com/.
13 Lyyra, “Lyyra: When the Earth Stands Still by Don Macdonald,” The VOCES8 Centre, London, YouTube
video, 0:04:04, https://youtu.be/CVHn6VemILA?si=hlOsis7EdF4Gi_BB.
LOWEST
VOICE IN
LYYRA

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performance of any work. In fact, Lyyra’s rendition features professional musicians
singing at the highest level and their creative adaptation to the original voicing of the
work culminates in a performance of which any director should be proud. Through
expanding one’s perception of what is acceptable or “normal” in choral singing,
opportunities to discover new and exciting ways to elevate the performances of any
ensemble may present themselves, and inclusive practices such as the Flexible Fach
Gender Affirming Protocol and line recombination may provide a worthy impetus to
embark on this journey of redefinition.

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CONCLUSION
Anita Kozan says, “All singers, no matter what their personal or vocal
circumstances, deserve to be accepted where they are, and complimented on what they
have achieved thus far,” and this principle is a connective thread through every step of
the Flexible Fach Gender Affirming Singing Protocol.1 Working with any singer is a
collaboration of desire, capability, and experience between student and teacher. It just
so happens that transgender and gender expansive singers face challenges that may be
unfamiliar to the teacher and are under-researched in singing pedagogy, but that does
not negate the need to validate their identities, acknowledge their progress, and respect
their desires in the development of a more affirming gendered perception of their voice.
Teachers, whether in the studio or in the choral classroom, are there to facilitate the
cultivation of specific aspects of singers’ vocal production that may help them to find a
more authentic voice, and eventually, those singer will develop the skills to self-monitor
and self-correct their vocal production habitually so that they can continue to apply
what they have learned on their own.2
In addition to seeking to understand their students, there are other
considerations that teachers may need to consider when implementing gender affirming
pedagogy. When setting goals, the genre in which the student wants to perform (e.g.,
classical or contemporary musical theater) and the nature of that performance (personal
or professional) may have a significant impact on guiding expectations. For example, in
musical theater and belting, expectations for laryngeal height are not built on the
“comfortably low” standard found in classical music, which may shift the target goal for
1 Kozan and Hammond, “The Singing Voice,” 298.
2 Hirsch, Gelfer, Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 239.

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laryngeal position. Also, if the singer is seeking to develop their voice for personal use,
there may be more flexibility in the extent of the changes that can be implemented, but
if they are planning to perform professionally, their proficiency with their instrument
must meet certain standards to be competitive, which may limit some adjustments that
can be made due to the higher demands placed upon the voice. Goals may change
depending on circumstance as well. If the student wants to move to a different section in
a choir, the singer may be more focused on developing a functional use of the range of
the section in which they want to sing and may be less concerned with finding their own
“individual voice” because of the need to blend within their section. However, if they are
a soloist, then they may want to find a unique, “new voice” that allows them to express
themselves more authentically.
Whatever the case, they may experience a great deal of frustration as they explore
their voice if progress is slower than anticipated or their voice is not aligning exactly
with what they had in mind. So, teachers should help their TGE singers understand
early on that this kind of vocal exploration is a process and that there may be unique
challenges because “[o]ccasionally trans singers, including well-trained singers, must
sing softly for a number of months because of the demands of the conditioning process
for the new range of the voice.”3 This can be an extremely difficult and potentially
triggering experience for them if they are used to being able to sing more fully or if they
expect their progress to be more immediate, especially if they experience a lot of vocal
dysphoria. The voice is a muscle, and training a muscle takes time and acknowledging
their progress and helping them understand the patience required to develop a new
3 Kozan and Hammond, “The Singing Voice,” 310.

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technique may help to alleviate their frustration. As additional research is conducted on
this proposed methodology and the impact of the Flexible Fach Gender Affirming
Singing Pedagogy is more fully realized, the FFP will continue to evolve, and in the
interim it has the potential to serve as an affirming foundation upon which TGE singers
can stand—one that is grounded in well-established principles of gender affirming voice
and communication therapy and voice science, and the importance of providing such a
resource cannot be overstated.
When considering the method of line recombination, some conductors may be
concerned with the musical integrity of the composer’s original intent or even potential
copyright issues in non-public domain works, but one could argue that adjustments
similar to line recombination are already made by choral directors on a regular basis
without changing intent or raising copyright concerns. For instance, rewriting or
adapting vocal lines is commonplace for middle school teachers to adjust for their
singers’ needs without ill-effect on the music, and accommodating the vocal needs of
TGE singers can be very similar.4Also, renowned conductors such as Robert Shaw
(1927-1978) would have altos join tenors or other such doublings to meet the demands
of countless choral masterworks, and this has now become standard practice.
It is important to note that, because line recombination is essentially creating an
alternative roadmap through a piece by moving between the inner voices, copyrighted
material is not being altered in any way because no additional pitch class material is
added or changed. If the line is intended for someone who is comfortable jumping
between staves, no engraving would be needed because the roadmap can simply be
4 For additional information on adolescent changing voices, see Rollo Dilworth, “Working with Male
Adolescent Voices in the Choral Rehearsal: A Survey of Research-Based Strategies,” The Choral Journal
52, no. 9 (2012): 22–33. http://www.jstor.org/stable/23560700.

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marked in the score, but if engraving the line is preferred by the director and the singer
for ease of reading, it would not be necessary to include the complete alto and tenor
lines in addition to the recombined line, which may further alleviate copyright concerns.
In the event a conductor is concerned about copyright, contacting the composer or the
publisher directly to receive permission is not out of the question. In time, it is my hope
that line recombination will become such a norm that publishers and composers will be
aware of and openly support its application to copyrighted works, especially in academic
environments—perhaps even to the point where composers will begin including
suggested recombined lines in their published works prior to distribution, which would
alleviate copyright concerns entirely and remove some of the burden of the workload
from the directors themselves. Granted, each singer’s recombined journey merits
individual tailoring, but composers and publishers providing a neutral line that adheres
to the line recombination practices demonstrates active support for the TGE
community. As a result, TGE singers may feel safer in their ensembles because visibility
of support is a significant factor in TGE individuals’ well beings.
However, until that is the case, the thought of choral directors engraving lines
themselves and having to contact publishers is likely daunting, particularly as it relates
to the time required to do so. To address this potential hurdle, I have created a free,
crowdsourced database of recombined lines that can be accessed and contributed to by
anyone in the field. This Recombined Choral Library (RCL), which already contains the
recombined lines discussed in this article, can be found at www.TransitioningVoices.org.
The goal of the project is to provide an easily accessible resource where choir directors
can go to download a part for their singers that has already been created if they do not
feel comfortable or do not have time to create their own recombined lines. If the desired

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piece is not present in the library, one can request a recombined line, and the team will
create the requested line for them, even contacting publishers if necessary. For directors
already creating recombined lines, they are encouraged to submit their lines through the
portal on the website, and their contributions can then be added to the RCL, which may
help the resource grow more quickly. I hope that the RCL and (Trans)itioning Voices
will be able to remove as many potential hurdles to utilizing this methodology and its
recombined lines as possible. After its introduction at the Western ACDA convention in
Long Beach in March of 2022, the project has already grown exponentially and will
continue to grow through the inclusion of additional contributors in the coming months
and years. Anyone who would like to get involved can simply reach out through the
contact form at www.TransitioningVoices.org. The more contributors the project gains,
the more accessible this resource will be to the choral field, and accessibility and
inclusion are, after all, the ultimate goal.
Regarding the repertoire itself, the lessons learned through the selections
discussed in this dissertation and driving principles behind the Flexible Fach Gender
Affirming Protocol serve as valuable tools in the inclusion of transgender and gender
expansive singers, whether performing solo or in a choral ensemble. Through the
application of these practices, TGE singers can be shown acceptance and active support
of their identity that may alleviate any apprehension they have about being able to sing
in a choral ensemble. When combined with thoughtful choral positioning and inclusive
uniforms, this empathetic approach can provide a safe, validating alternative for these
singers that is fulfilling and meaningful as they transition between voice parts.
5 Line
5 For insights and resources regarding inclusive choral environments in addition to those already

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recombination is not a perfect solution to the growing challenges that choral directors
are facing, but it is still a viable stopgap when working toward inclusivity for singers who
are transitioning from one voice part to another or are looking to feel more accepted for
who they are. As such, providing an inclusive, supportive environment for all singers is a
goal worthy of pursuit, and educators can support this goal by remaining open to
learning about differing perspectives or experiences and by being mindful of ways they
can incorporate new methodologies.
In choral ensembles, a potential concern that directors may have regarding
ensembles with high performance expectations is that a singer transitioning may result
in them being unable to perform at the same level on a recombined line that they might
have been able to on their previous voice part. For instance, there may be a singer who
can meet expectations as a tenor but is not proficient enough with their upper register to
meet the expectations as an alto or through a recombined line. The principles of the FFP
can assist with this transition, but meeting expectations in an audition is a reality of
being a musician. Ultimately, the singer may be faced with a difficult decision: to risk
not being able to sing in an ensemble with higher performance expectations while they
are transitioning or to continue singing in their old voice part in order to be in that
ensemble. Regardless of the singer’s choice, it is the responsibility of the director to
provide the opportunity for inclusion and to offer such accommodations
as common practice before dismissing any singers from consideration.
discussed, the following websites are helpful places to start: Ari Agha, “Making Your Chorus Welcoming
for Transgender Singers.” Making Your Chorus Welcoming for Transgender Singers | Chorus America
(December 30, 2017). https://www.chorusamerica.org/conducting-performing/making-your-choruswelcoming-transgender-singers. Gayla Blaisdell. “Rehearsal Break: Fostering Inclusion: Unpacking
Choral Dress Codes.” The Choral Journal 59, no. 1 (2018): 59–66. https://www.jstor.org/stable
/26600192. “FAQ/Other.” Queering Choir. http://www.queeringchoir.com/faqother.html. “Teaching
Transgender Students in the Music Classroom.” Blurring the Binary. https://blurringthebinary.com/
uniforms.

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As a member of the University of Southern California’s Chamber Singers, I
approached Dr. Jo-Michael Scheibe about singing recombined lines in the spring of
2022 after singing tenor in the ensemble for a year and a half. He was open to offering
the accommodation, but added the understandable disclaimer of, “I need to hear it in
the sound of the ensemble first.” Fortunately, I was able to maintain the performance
standard of that ensemble, but had I not been able to, I would have had to decide if I was
ok with only singing tenor or if I would rather sing a recombined line in another
ensemble. When directors are faced with a circumstance such as this, it is important to
consider whether the singer has not qualified for an ensemble because all avenues
(including line recombination) have been explored and they are found not to be capable,
or whether it is because of a hesitancy caused by misunderstanding or the fear that it
would be too much work to provide the singer with accommodations.
In the event that a singer approaches a conductor with a request to sing in
another section, the director should be careful to respond with empathy and to begin a
dialogue with the singer without being immediately dismissive, as it may not be clear
why the singer is asking to change parts. Through careful conversation and
consideration, the director and the singer can work together to develop a plan that is
specific to that individual, and in cases where singers are seeking a transition due to
gender affirmation, line recombination and the FFP can be provided as tools.
Conductors should be aware of singers’ identities and their abilities as best they can and
strive to be as empathetic as possible, allowing their creativity and musicianship to
create the best experience for their singers, but at no point should a director require a
singer to “come out” in order for their request to sing in another section to be
considered. In some instances when there is a desire not to draw unnecessary attention

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to the TGE singer while using recombined lines, a more discreet approach may be
appropriate. Depending on the comfort level and musical independence of the TGE
singer, more individuals could perform the recombined line along with them, thus
allowing a degree of anonymity for them while also normalizing the practice and
providing musical support through the added singers. This could even help in the
rehearsal of recombined lines as having a group of singers performing the line can
provide their own section with which to practice if the ensemble is rehearsing in
sectionals. In cases where the TGE singer is the only person singing the recombined
line, careful rehearsal planning when mapping out sectionals is ideal. In the USC
Chamber Singers, Dr. Scheibe would provide me with the schedule of which portions of
the pieces would be rehearsed and the times in sectionals that they were scheduled.
Then, depending on the portion of the piece, I would attend either the alto or the tenor
sectional based on which part I was more aligned with in any particular piece. Similarly,
in full rehearsals, I would sing only the notes of my recombined lines any time that we
were rehearsing with one section at a time. Regardless of the way in which these
methods are applied, the success of any implementation of inclusive practice hinges
greatly on the director’s relationship with their students and the inclusive environment
that they have fostered in their classrooms.
As such, directors and educators have a significant responsibility to create a
meaningful, comfortable experience for all singers in their ensembles. This means that
gatekeeping and decision making based on false preconceptions must be avoided
through consciously committing to learning to understand others’ identities. Teachers
and directors can utilize the accommodations discussed here, while trying not to limit
their perceptions of what a singer is capable of performing without considering a

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recombined line and the Flexible Fach Gender Affirming Singing Protocol as a
possibility to help them feel welcome and validated. Inclusive practices have shown to
reduce stress and anxiety for TGE singers significantly, and they have the power to
provide external acceptance and validation of their identities, which may be lacking in
many TGE individuals’ lives. This practice is borne out of inclusivity, empathy, and a
desire to provide support and resources to those in need, regardless of who they are.
Anita Kozan’s powerful call to action underscores the importance of this work and the
significance of the impact we as educators, musicians, and directors can have on those
around us:
[TGE individuals] have spent their lives trying to be who they are not, trying to
act and talk like their gender assigned at birth. Trans women are often still stiff,
not easily moving their face or body, not opening their mouths, and not showing
emotion. They have often shared that they were worried while growing up that
they would be perceived as being effeminate or gay and would be bullied, so they
refrained from any movements or gestures that they thought would make them
suspect. Trans men talked of literally living in bodies bound with binders and
bandages to keep their upper chests from moving, experiencing physical as well
as psychological pain, with some experiencing physical injury, being unable to
breathe diaphragmatically because of the ribs being so tightly bound, forcing
themselves to use clavicular breathing, with shoulders elevated and tense, and
with neck tension and laryngeal strain. Being forced by society to live your life by
being who you are not is a terrible burden. It includes excruciating repetition of
so many behaviors and habits that have been learned in order to survive because
the person’s life did depend on it. Our work with our [students] is work that helps
[them] learn new behaviors and gently release the behaviors that protected them
but are no longer needed.
— Anita L. Kozan, “The Singing Voice,” 332.

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GLOSSARY
Definitions listed here are found in the Oxford English Dictionary: The Definitive
Record of the English Language, (2020)., unless otherwise indicated.
1. Acoustic Assumptions — a framework for problem solving resonance challenges
with transmasculine and transfeminine clients. See Appendix A for more details.
2. Assigned Female at Birth (AFAB) — an individual whose sex assigned at birth is
female. AFAB people may or may not identify as female some or all of the time.1
3. Assigned Male at Birth (AMAB) — an individual whose sex assigned at birth is
male. AFAB people may or may not identify as female some or all of the time.2
4. Binder/Binding — the act of using a “binder” to tightly wrap one’s chest in order to
minimize the appearance of having breasts. There are a number of methods with
which an individual may bind: commercial binders; sports bras; layered shirts;
elastic or other similar bandage; athletic compression wear; and even duct tape,
plastic wrap or other homemade solutions.3
5. Cisgender — Designating a person whose sense of personal identity and gender
corresponds to his or her sex assigned at birth.
6. Fach (fächer, pl.) — a category within the German Fach voice classification system
used to cast operas; refers to a specific “kind” of soprano, alto, tenor, or bass and the
roles that are appropriate for each them.4
7. Feminizing Hormone Replacement Therapy — used by transgender women and
nonbinary people to produce physical changes in the body that are caused by female
hormones during puberty; involves taking medicine to block the action of the
hormone testosterone; also includes taking the hormone estrogen.5
8. Flexible Fach Gender Affirming Singing Protocol (FFP) — protocol of scienceinformed gender affirming exercises to masculinize or feminize the singing voice
compiled and developed by Stevie J. Hirner in 2023.
1 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.
2 Ibid.
3 Ibid. “Transmasculine Voice and Communication,” 152, 165.
4 McGinnis, The Opera Singer’s Career Guide, 2.
5 “Feminizing Hormone Therapy.” (Mayo Clinic. Mayo Foundation for Medical Education and Research).
https://www.mayoclinic.org/tests-procedures/feminizing-hormone-therapy/about/pac-20385096.

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9. Formant Frequencies — the associated frequency of a formant, which is a potential
resonance of the vocal tract; the order of formants is labeled as F1, F2, F3…6
10. Formant Tuning — shifting formant frequencies during singing to optimize timbre
and sound output; cultivating the best vowel to pitch match; vowel modification.7
11. Fundamental Frequency (f0) — the lowest frequency in a complex wave; the first
harmonic.
12. Gender Affirming — adjective indicating a focus on the support of one’s gender
identity.
13. Gender Affirming Voice and Communication Therapy (GAVCT) — voice and
communication modification for a person who is transgender; first reported in 1977;
includes the areas of vocal health, voice (pitch, intonation, and volume), resonance,
articulation, language (pragmatics, syntax, semantics), non-verbal communication,
real-life experiences/authenticity/safety.8
14. Gender Dysphoria — a persistent dissatisfaction with or distress related to one’s
inner sense of self (gender identity) not aligning with their sex assigned at birth,
their physical appearance, and/or how their gender is perceived by others.9
15. Gender Expansive — used as an umbrella term for individuals who broaden their
own culture’s commonly held definitions of gender, including expectations for
gender expression, identities, roles, and/or other perceived gender norms.10
16. Glottal fry (Mode 0) — often described as “creaky;” low fundamental frequency with
a short opening phase, a fast closure, and irregular instants of closure.11
17. Habilitation — the action of enabling or endowing with ability or fitness.
6 McCoy, Your Voice an Inside View, 65.
7 Ibid, 72.
8 Jack Pickering and McKenzee Greene, “Voice and Communication Modification: Historical Perspective,”
in Voice and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive
Clinical Guide, ed. Richard K Adler, Sandy Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural
Pub., 2019), 67-73.
9 Jack Turban, “What Is Gender Dysphoria?,” American Psychiatric Association, November 2020,
https://psychiatry.org/patients-families/gender-dysphoria/what-is-gender-dysphoria.
10 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.
11 Gilles Degottez, Erkki Bianco, and Xavier Rodet, “Usual to particular phonatory situations studied with
high-speed videoendoscopy,” (International Conference on Voice Physiology and Biomechanics, Aug
2008), 3.

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18. Hormone Replacement Therapy (HRT) — A type of gender affirming treatment that
allows trans and gender expansive people to transition medically or feel more at
home in their bodies.12
19. /i/ification — term coined by Sandy Hirsch to describe the application of an /i/ lip
configuration across vowels, especially across the elongated vowels such as /u/, acts
to artificially shorten the vocal tract due to lip-spreading and subsequent raising of
the larynx for the /i/ vowel; results in a “lighter” sound; eventually becomes an
internal “smile” sensation rather than an external lip spreading.13
20. Inertance — sometimes referred to as “vocal tract inertance” and “inertive
reactance;” a nonlinear energy-feedback process that amplifies sounds created by
the vocal folds; occurs when singers create special conditions to provide an extra,
precisely timed “kick” to each cyclic opening and closing of the folds that reinforces
their vibration to create stronger sound waves.14
21. Intensity — amplitude of a sound wave; volume15
22. Intonation — in speech-language pathology, refers to the pitch changes that are
typically imposed at the phrase and sentence level; see also: prosody.
16
23. Lessac-Madsen Resonant Voice Therapy (L-MRVT) — developed by Katherine
Verdolini in 2000 and further formalized in 2008, in combination with
manipulating vowel context and production; includes a) a solid vocal health
component, b) sensory cues for what constitutes a correct trial, c) clear goals for
respiratory control, and d) hierarchically tailored consonant-vowel transitions that
help to provide the foundations for strong skill development and long-term
maintenance of a feminine voice.17
24. Masculinizing Hormone Replacement Therapy — Masculinizing hormone therapy
typically is used by transgender men and nonbinary people to produce physical
changes in the body that are caused by male hormones during puberty.
Masculinizing hormone therapy involves taking the male hormone testosterone. It
stops menstrual cycles and decreases the ovaries' ability to make estrogen.18
12 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.
13 Hirsch, Gelfer, and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 228.
14 Titze, “The Human Instrument,” 99.
15 Oates, “Evidence-Based Practice in Voice Training for Trans Women,” 88.
16 Gelfer, Pickering, and Mordaunt, “Pitch and Intonation,” 200.
17 Hirsch, Gelfer, and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 225.
18 “Masculinizing Hormone Therapy,” (Mayo Clinic. Mayo Foundation for Medical Education and

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25. Mode 1 — glottal configuration during phonation where the vocal folds are
thickened by contraction of the TA (thyroarytenoid) muscles, resulting in a squareshaped glottis; source mode for “chest voice,” “belting,” and other robust singing.19
26. Mode 2 — glottal configuration during phonation where the vocal folds are
elongated and thinned by the contraction of the cricothyroid muscles (CT), resulting
in a triangular-shaped glottis; source mode for “falsetto” in AMABs and “head
voice” in AFABs.20
27. Muscle Tension Dysphonia (MTD) — a condition in which excessive tension occurs
in the intrinsic and extrinsic muscles of the larynx, resulting in laryngeal edema
(hoarseness/laryngitis), vocal fatigue, and frequently pain with singing or
speaking.21
28. Nonbinary — Refers to people who do not subscribe to the gender binary. They
might exist between or beyond the man-woman binary. Some use the term
exclusively, while others may use it interchangeably with terms like genderqueer,
genderfluid, gender non-conforming, gender diverse, or gender expansive. It can
also be combined with other descriptors, e.g., nonbinary woman or transmasc
nonbinary. Language is imperfect, so it’s important to trust and respect the words
that nonbinary people use to describe their genders and experiences. Nonbinary
people may understand their identity as falling under the transgender umbrella and
may thus identify as transgender. Sometimes abbreviated as NB or Enby, the term
NB has been used historically to mean non-Black, so those referring to nonbinary
people should avoid using NB.22
29. Oral Cavity — area of the supraglottic vocal tract from the point of maximum
constriction of the tongue to the lips.23
30. Pharynx — area of the supraglottic vocal tract from the glottis to the point of
maximum constriction of the tongue.24
Research), https://www.mayoclinic.org/tests-procedures/masculinizing-hormone-therapy/about/pac20385099.
19 McCoy, Your Voice: An Inside View, 231.
20 Ibid, 232.
21 Ibid, 208.
22 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.
23 Hirsch, Gelfer, and Boonin, “The Art and Science of Resonance, Articulation, and Volume,” 221.
24 Ibid, 220.

146
31. Prosody — the melody of speech and includes loudness, pitch and stress changes;
see also: intonation.
25
32. Rainbow Passage, The — common oral reading passage used in the evaluation of
speech. Transcription here:
When the sunlight strikes raindrops in the air, they act as a prism and form a rainbow.
The rainbow is a division of white light into many beautiful colors. These take the shape
of a long round arch, with its path high above, and its two ends apparently beyond the
horizon. There is, according to legend, a boiling pot of gold at one end. People look, but
no one ever finds it. When a man looks for something beyond his reach, his friends say
he is looking for the pot of gold at the end of the rainbow. Throughout the centuries
people have explained the rainbow in various ways. Some have accepted it as a miracle
without physical explanation. To the Hebrews it was a token that there would be no
more universal floods. The Greeks used to imagine that it was a sign from the gods to
foretell war or heavy rain. The Norsemen considered the rainbow as a bridge over which
the gods passed from earth to their home in the sky. Others have tried to explain the
phenomenon physically. Aristotle thought that the rainbow was caused by reflection of
the sun's rays by the rain. Since then physicists have found that it is not reflection, but
refraction by the raindrops which causes the rainbows. Many complicated ideas about
the rainbow have been formed. The difference in the rainbow depends considerably
upon the size of the drops, and the width of the colored band increases as the size of the
drops increases. The actual primary rainbow observed is said to be the effect of superimposition of a number of bows. If the red of the second bow falls upon the green of the
first, the result is to give a bow with an abnormally wide yellow band, since red and
green light when mixed form yellow. This is a very common type of bow, one showing
mainly red and yellow, with little or no green or blue. 26
33. Rehabilitation — Restoration of a person to health or normal activity after injury,
illness, disablement, or addiction by means of medical or surgical treatment,
physical and occupational therapy, psychological counselling, etc.
34. Resonance — the intensification and enriching of a musical tone by supplementary
vibration.27
35. Sex Assigned at Birth — the sex assigned to an infant at birth based on the child's
visible sex organs, including genitalia and other physical characteristics.28
36. Semi-occluded vocal tract (SOVT) — also SOVTE; a posture of the vocal tract in
which the flow of air or sound is obstructed partially through a voiced fricative,
25 “Transgender Voice Therapy and Surgery,” (Mayo Clinic. Mayo Foundation for Medical Education and
Research), https://www.mayoclinic.org/tests-procedures/transgender-voice-therapy-andsurgery/about/pac-20470545.
26 Fairbanks, “The Rainbow Passage,” 124-139.
27 Merriam-Webster Collegiate Dictionary, quoted in Scott McCoy, Your Voice: An Inside View, 47.
28 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.

147
nasal consonant, lip trill, or other similar configurations; increases the acoustic
impedance (inertive reactance) in the vocal tract.29
37. Source-Filter Theory — theory in which the original periodic sound produced by the
oscillating vocal folds (the “source”) is then enhanced or “filtered” in a nonlinear
manner by the resonators and articulators of the vocal tract.30
38. Spectral envelope — the fundamental frequency and the unique pattern of
overtones present in each musical sound, each with different relative amplitudes;
see also: timbre.31
39. Speech-Language Pathology (SLP) — the study of the prevention, assessment,
diagnosis, and treatment of speech, language, social communication, cognitivecommunication, and swallowing disorders in children and adults; the acronym SLP
is also used to refer to the practicing clinicians, speech-language pathologists.
32
40. Standard Deviation — amount by which one of a set of measurements, numerical
observations, etc. differs from the arithmetical mean of the whole set.
41. Timbre — The character or quality of a musical or vocal sound (distinct from its
pitch and intensity) depending upon the particular voice or instrument producing it,
and distinguishing it from sounds proceeding from other sources; caused by the
proportion in which the fundamental tone is combined with the harmonics or
overtones; see also: spectral envelope.
42. Tracheal pull — the phenomenon that occurs when the descending diaphragm pulls
down the lungs, bronchial tubes, trachea, and larynx.33
43. Trans woman — A male-to-female transgender or transsexual person.
44. Trans man — A female-to-male transgender or transsexual person.
45. Transgender — Often shortened to trans, from the Latin prefix for “on a different
side as.” A term describing a person’s gender identity that does not necessarily
match their assigned sex at birth. Transgender people may or may not decide to
alter their bodies hormonally and/or surgically to match their gender identity. This
29 Meerschman et al., “Short-Term Effect of Two Semi-Occluded Vocal Tract Training Programs on the
Vocal Quality of Future Occupational Voice Users,” 2519-20.
30 McCoy, Your Voice: An Inside View, 62-79.
31 Ibid, 42.
32 “Speech Language Pathologists,” American Speech-Language-Hearing Association, accessed May 2,
2023. https://www.asha.org/students/speech-language-pathologists/.
33 McCoy, Your Voice an Inside View, 180.

148
word is also used as an umbrella term to describe groups of people who transcend
conventional expectations of gender identity or expression--such groups include,
but are not limited to, people who identify as transsexual, genderqueer, gender
variant, gender diverse, and androgynous. See above for common acronyms and
terms including female to male (or FTM), male to female (or MTF), assigned male
at birth (or AMAB), assigned female at birth (or AFAB), nonbinary, and gender
expansive. “Trans” is often considered more inclusive than transgender because it
includes transgender, transsexual, transmasc, transfem, and those who simply use
the word trans.34
46. Transgender and Gender Expansive (TGE) — term used to refer to transgender
individuals that is inclusive of “gender expansive” as an umbrella term that
describes a broader range of gender expressions and identities.35
47. Transitioning — refers to the process (social, legal, and/or medical) one goes
through to affirm one’s gender identity.36
48. Vocal Folds — small folds of tissue located in the anterior/posterior plane within
the protective cartilage of the larynx generally consisting of three layers: the body
(thyroarytenoid muscle), the transitional layer (lamina propria, which divides into
three layers of its own), and the cover (mucosa).37
49. Vocal Tract — the resonating space from the glottis to the front of the lips38
50. Voice Quality — an assessment of the amount of dysphonia in the sound of the voice
such as breathiness or strain39
34 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/.
35 Matthew L Garrett and Joshua Palkki, Honoring Trans and Gender-Expansive Students in Music
Education (New York, NY: Oxford University Press, 2021), 20.
36 “PFLAG National Glossary of Terms.” (PFLAG, May 2023). https://pflag.org/glossary/
37 McCoy, Your Voice an Inside View, 150-152.
38 Johan Sundberg, The Science of the Singing Voice (Dekalb, IL: Northern Illinois University Press,
1987), 19-21.
39 Adler and Antoni, “Vocal Health and Phonotrauma,” 136.

149
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Sundberg, Johan. “Breathing Behavior During Singing.” The Nats Journal
(January/February 1993): 4-9, 49-51.
_____. The Science of the Singing Voice. Dekalb, IL: Northern Illinois University Press,
1987.
Tallis, Thomas. If Ye Love Me. Ed. Seth Engel, 2022, Choral Public Domain Library.
Titze, Ingo R, Anil Palaparthi, and Ted Mau. “Vocal Tradeoffs in Anterior Glottoplasty
for Voice Feminization.” The Laryngoscope 131, no. 5 (2021): 1081–87.
Titze, Ingo R. “The Human Instrument.” Scientific American 298, no. 1 (2008): 94–101.
https://doi.org/10.1038/scientificamerican0108-94.
Titze, Ingo R., and Brad H. Story. “Acoustic Interactions of the Voice Source with the
Lower Vocal Tract.” Journal of the Acoustical Society of America 101, no. 4 (1
April 1997): 2234-43.
Turban, Jack. “What Is Gender Dysphoria?” American Psychiatric Association.
November 2020. https://psychiatry.org/patients-families/genderdysphoria/what-is-gender-dysphoria.
Vasković, Jana. “Neck Anatomy.” Kenhub, November 3, 2023.
https://www.kenhub.com/en/library/anatomy/neck-anatomy
Verdi, Giuseppe. Requiem for Four Solo Voices and Chorus. Ed. 180. Milwaukee, WI: G.
Schirmer, Inc, 1874.
Watson, J. B. “Most Recommended Choral Music: A Survey of High School State Choral
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158
APPENDICES
Appendix A
Scan of Hirsch’s Acoustic Assumptions, p. 1 of 2
Sandy Hirsch, Marylou Pausewang Gelfer, and Joan Boonin, “The Art and
Science of Resonance, Articulation, and Volume,” in Voice and
Communication Therapy for the Transgender/Gender Diverse Client: A
Comprehensive Clinical Guide, ed. Richard K Adler, Sandy Hirsch, and
Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 231.

159
Appendix A — Continued
Scan of Hirsch’s Acoustic Assumptions, p. 2 of 2
Sandy Hirsch, Marylou Pausewang Gelfer, and Joan Boonin, “The Art and
Science of Resonance, Articulation, and Volume,” in Voice and
Communication Therapy for the Transgender/Gender Diverse Client: A
Comprehensive Clinical Guide, ed. Richard K Adler, Sandy Hirsch, and
Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 231.

160
Appendix B
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 1 of 11
1 Georgia Dacakis and Shelagh Davies, “Trans Woman Voice Questionnaire (Formerly TVQMtF), 2012,” La
Trobe University, accessed May 2, 2023,
https://www.latrobe.edu.au/__data/assets/pdf_file/0018/1421433/TWVQ-English-Questionnaire.pdf
2 Dacakis, “Considerations for Intake and Assessment,” 118.
3 Ibid, 109.
Assessment and Goal Setting
Assessment
Without offering modifications to the singer throughout or indications as to what is being assessed,
complete the following assessment using the rubric in Appendix D. Note: this assessment can be used
for any singer, not only TGE singers.
1.Information Gathering and Goal Setting:
a.Complete Voice Self-Assessment for TGE Singers; see Appendix C
i. (adapted from the Trans Woman Voice Questionnaire by Dacakis and Davies, 2012)1
b.Recommended: Complete a new student information questionnaire; see sample in Appendix E
c.Set realistic goals, informed by the following:
i. Evaluation of the singers' current vocal capabilities
ii. The singer’s desired aesthetic (singer-centric collaboration)2
iii. Acknowledging and addressing any existing habits that may hinder progress
iv. Physiological Limitations
2.Posture
a.Visually assess alignment of feet, hips, ribcage, shoulders, laryngeal height, head and neck
position, and the presence of any excess tension
3.Breathing
a.Visually assess use of any clavicular, thoracic, or abdominal breathing as well as pacing of
inhalation and exhalation while performing the following:
i. Four second nasal inhalation → Four second exhalation
ii. Four second oral inhalation → Four second oral exhalation
iii. One second oral inhalation → Four second oral exhalation
b.Aurally and visually assess breath control and support while performing the following:
i. One second oral inhalation → Eight second oral exhalation on /s/
ii. One second oral inhalation → Maximum oral exhalation on /s/
iii. One second oral inhalation → Maximum duration of any chosen vowel on a comfortable midrange pitch
4.Voice Quality and Timbre
a.Aurally assess breathiness, rasp, vibrato, and timbre
i. Four second sustained /a/ on a comfortable mid-range pitch3
5.Onset
a.Aurally assess glottal onset and resonance
i. Sing five quarter notes on the following vowels on a comfortable mid-range pitch with a slight
breath in between:
1. /i/ /e/ /a/ /o/ /u/

161
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 2 of 11
4 Liz Jackson Hearns, and Brian Kremer, The Singing Teacher's Guide to Transgender Voices, (San
Diego, CA: Plural Publishing, Inc., 2018), 202.
5 Kozan and Hammond, “The Singing Voice,” 296.
6 Mills and Stoneham, The Voice Book for Trans and Non-Binary People, 90.
6.Articulation
a.Aurally and visually assess location and weight of articulatory contacts
i. On a sustained, comfortable mid-range pitch, sing the following phrases:4
1. Annie is an independent astronomer.
2. Pumpkin pie is not an appropriate pest repellant.
3. Send Sammy sixteen extracts straight away.
4. Fifteen fresh fuchsia flowers fit perfectly.
5. Linda lays lovely lavender.
6. Kendall collects colorful keychains.
7. Shelves of shimmering shapes were touched by torchlight.
7.Physiological Range5
a.Aurally assess maximum physiological range and resonance
i. Descending glissando on any chosen vowel from mid-range to lowest pitch
ii. Ascending glissando on any chosen vowel from mid-range to highest pitch
8.Performable Range
a.Aurally assess performable range, registration events, and modes of phonation
b.Three- to five-note vocalise of instructor’s choosing
A. Posture
Masculinizing and Feminizing
Exercise Steps/Comments Intent/Goal Source
1. Rib Stretch6 1.Stand with slightly wider stance
than hip width.
2.Arc right arm overhead, tilt head
slightly to the side, lean to the
left.
3.Place left hand on right side of
the ribcage below the armpit.
4.Breathe in, feeling for the
expansion of the ribs under the
left hand.
5.Hold for three seconds; then
exhale.
6.Return to vertical.
7.Repeat on left side.
Stretch intercostal
muscles to encourage
thoracic freedom and
build awareness of rib
expansion.
Can be used for
either masculinizing
or feminizing the
voice. Useful for
masculinizing the
voice due to the
benefits of
preparation for more
robust abdominal
breath support, and
useful for feminizing
the voice as it better
prepares the body for
thoracic breathing.
Mills and
Stoneham, The
Voice Book for
Trans and NonBinary People,
90.

162
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 3 of 11
7 Dahl, et al., “Voice and Speech Changes in Transmasculine Individuals Following Circumlaryngeal
Massage and Laryngeal Reposturing,” 1370. Photo of the individual’s head and neck with superimposed
larynx taken from Jana Vasković, “Neck Anatomy,” Kenhub (November 3, 2023),
https://www.kenhub.com/en/library/anatomy/neck-anatomy. Superimposed sternocleidomastoids,
arrows, and labels added by Stevie J. Hirner.
2. Circumlaryngeal
Massage7
.
1) Place both hands on either
side of the neck, on top of the
sternocleidomastoid, under
the ears.
2) Apply pressure and pull down
along the sternocleidomastoid
to the collarbones for 1.5 min.
Relieve laryngeal
tension. Beneficial to
all singers.
However, the
resultant lower
reposturing will
darken timbre, which
may be
counterproductive to
feminizing the voice.
As such, using the
last two steps as a
release of tension is
beneficial, but care
should be taken not to
lower the larynx as a
result.
Dahl, François,
Buckley, and
Stepp, “Voice
and Speech
Changes in
Transmasculine
Individuals
following
Circumlaryngeal
Massage and
Laryngeal
Reposturing,”
(American
Journal
of SpeechLanguage
Pathology, May
2022), 1370.
3) Place thumb and one finger
on either side of the larynx in
the thyrohyoid space, and
massage front to back for 3.5
min.
4) Place thumb and one finger on
either side of the larynx, move
above the hyoid bone, and massage
the muscles front to back in a
circular motion for 2.5 mins.

163
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 4 of 11
8 Kozan and Hammond, “The Singing Voice,”, 316
5)Place right hand on the
left side of the thyroid
cartilage, and gently
pull to the right.
6)Alternate sides, keeping the
movement continuous for 1.5
mins.
7)Repeat motion, holding in each
direction for 1 minute on each
side.
8) With one hand, gently pull the
thyroid cartilage down, release, and
repeat for 2 minutes.
9) Repeat motion, this time from the
hyoid bone for two minutes.
3. Tongue Buckle8 1. Place tongue tip behind the
lower teeth.
2. Buckle the tongue outward so
that it forms a big curve out
from just beneath your top
teeth, then bring it in behind
your bottom teeth.
3. Hold the outward tongue
posture while doing a “yawn
sigh” or descending glissando
on /a/ and on /ǣ/ in a
comfortable range. Repeat
four times with each vowel.
4. Place the tip of the tongue
between the lower teeth and
the lower lip and repeat the
exercise four more times.
To relieve tongue
tension, allowing for
easier manipulation of
the vocal tract. Goal:
to round the tongue
outward as much as
possible. Tongues
that are tense will
tend to flatten, shake,
or pull back into the
mouth while
completing the
exercise.
Kozan, “The
Singing Voice,”
316.

164
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 5 of 11
9 Richard Miller, The Structure of Singing: System and Art in Vocal Technique, (New York: Schirmer,
1996), 32; McCoy, Your Voice: An Inside View, 180; Johan Sundberg, “Breathing Behavior During
Singing,” The Nats Journal (January/February 1993), 49-50.
B. Breathing
Masculinizing
Exercise Steps Intent/Goal Source
1. Abdominal Breaths9
(1) Place one hand on the
abdomen, in between the
belly button and the bottom
of the ribcage.
(2) Place the other hand on the
lower back on the same
side as the hand, above the
hip with the fingers
extending toward the spine.
(3) Breathe from this position,
noting the expansion of the
abdomen and lower back
into the hands. Try to
minimize the chest raising
and lowering during
respiration.
(4) Execute breathing exercises
from this position, e.g.,
panting, sustained hiss.
(5) Work to maintain the same
awareness without hands
on the abdomen and back.
To facilitate
tracheal pull and a
darker timbre of
the voice.
To minimize
ribcage expansion
and subsequent
tension or pain if
the singer wears a
binder.
Miller, The
Structure of
Singing, 32.
McCoy, Your
Voice: An Inside
View, 180.
Sundberg,
“Breathing
Behavior During
Singing,” 49-50.
Constansis, The
Changing
Female-to-Male
Voice.

165
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 6 of 11
Feminizing
Exercise Steps Intent/Goal Source
1. Rib Cage Expansion10 1. Hold an elastic exercise band,
stretched between each hand
overhead or in front of the body
as shown in the images below,
whichever is most comfortable.
To avoid tracheal
pull and “…to
actively train the
rib cage expansion
necessary for
optimal inhalation
and encourage
delayed thoracic
movement back to
neutral during
exhalation. When
the rib cage is
already in an
expanded state,
the kinesthetic
Ragan, “A
Systematic
Approach to
Voice,” Exercise
3-13, 70-2.
Images from
Ibid, Figure 3-13.
A-B., 70-1.
Ragan indicates
this exercise
should be used
in conjunction
with an
2. Breathe from this expanded
position, noting the kinesthetic
awareness of the expansion of
the ribcage during inhalation
and contraction upon
exhalation. Abdominal
engagement on exhalation is
welcome but should be
minimized upon inhalation.
3. Execute breathing exercises
from this position, e.g., panting,
sustained hiss.
4. Work to maintain the same
awareness when not using the
exercise band.
Note: nasal inhalation has been
found to stimulate intercostal
engagement and therefore
would be advantageous to
developing thoracic breathing.
sense of breathing
into a space that
already exists
becomes more
reliable. This
encourages
singers to naturally
allow air into the
body instead of
sucking or gasping
for air.”
abdominal
breath, but to
avoid any
unintentional
lengthening of
the vocal tract
due to tracheal
pull, forego that
step. Adaptation
by Hirner.
10 Kari Ragan, “Exercise 3-13,” A Systematic Approach to Voice: The Art of Studio Application (San
Diego, CA: Plural Publishing, Inc., 2020), 70-2. Images from Ibid, Figure 3-13. A-B., 70-1; Christine
Adaire, Delia Kropp, Sandy Hirsch, and Rebecca Root, “Meeting the Needs of Gender Diverse Actors:
Personal, Clinical, and Artistic Perspectives,” in Voice and Communication Therapy for the
Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, ed. Richard K Adler, Sandy
Hirsch, and Michelle Mordaunt, Third (San Diego, CA: Plural Pub., 2019), 352.

166
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 7 of 11
C. Onset, Articulation, and Phonation
Exercise Table C, Part 1: Masculinizing
Exercise Steps Intent/Goal Source
1. Firm Onset11 1. Begin with a hard glottal
onset in a comfortable
range within the target
register.
2. Gradually relax onset until
there is no harshness, but
it is still firm.
3. Repeat on all primary
vowels:
/a/, /o/, /u/, /e/, /i/.
Work to establish
a firm,
coordinated onset
at all dynamic
levels.
Optional SOVT:
using a straw,
sing the
sequence of
exercises.
Exercise created
by Hirner based
off principles
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-37
11 Ibid, 236-37.

167
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 8 of 11
2. Firm Consonants12 1. Execute the following exercise on
with firm, crisp consonants.
Transfer the firm onset and crisp
consonants to the following phrases:
2. Annie is an independent
astronomer.
3. Pumpkin pie is not an appropriate
pest repellant.
4. Send Sammy sixteen extracts
straight away.
5. Fifteen fresh fuchsia flowers fit
perfectly.
6. Linda lays lovely lavender.
7. Kendall collects colorful
keychains.
8. Shelves of shimmering shapes
were touched by torchlight.
Form consonants
with firmer
“darker”
articulations
further back in
the oral cavity
when possible,
e.g., articulating
/k/ on the soft
palate instead of
the hard palate.
Voiced
consonants
should be firm
and clear.
Connect firm
onset with crisp
consonants into
the text
exercises.
Exercise created
by Hirner based
off principles
found in the
following sources:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 236-40.
Acoustic
Assumptions,
230-231.
Text samples
taken from the
following:
Hearns and
Kremer, The
Singing Teacher’s
Guide to
Transgender
Voices, 123-4,
202.
12 Ibid, 236-40; Ibid, “Acoustic Assumptions,” 230-231. Text samples taken from Hearns and Kremer, The
Singing Teacher’s Guide to Transgender Voices, 202.

168
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 9 of 11
3. Mode 1 Glissandi13 1. Beginning on a comfortable pitch
in the Mode 1 register, initiate a
firm onset on /a/, /o/, or /u/ and
slide downward to the lowest end
of the vocal range.
2. Then, initiate a firm onset on the
same vowel at:
a. the lowest end of the vocal
range and slide up to the midrange.
b. the mid-range of the vocal
range and slide up to the
highest end of the Mode 1
range.
c. The highest end of the Mode
1 range and slide down to the
mid-range
d. The highest end of the Mode
1 range to the lowest.
Optional SOVT: using a straw, sing
the sequence of exercises while
maintaining an /a/, /o/, or /u/ tongue
position
Access Mode 1
and cultivate
laryngeal
flexibility and
freedom without
“muscling” the
sound in order to
maintaining
intensity without
creating excess
tension
Adapted by
Hirner from the
following source:
Kozan, “The
Singing Voice,”
296.
13 Kozan and Hammond, “The Singing Voice,” 296.

169
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 10 of 11
4. Chest Registration
Isolation14
1. Sing the following exercise. First
on /væ/ to access Mode 1, then
move to darker vowels.
2. Once comfortability is established,
work outward by half-steps.
Access and
cultivate Mode 1
by remaining in a
range that
facilitates TAdominant
phonation, e.g.,
down to the
lowest
comfortable pitch
for the singer
without losing
intensity and not
progressing
higher than the
average tenor
register, approx.
A4-C4, taking
care to remain in
Mode 1
throughout.
Exercise adapted
by Hirner from the
following:
Exercise 5-11 A
and B, Ragan, A
Systematic
Approach to
Voice, 157-8.
14 Ragan, A Systematic Approach to Voice, 157-8.

170
The Complete Flexible Fach Gender Affirming Singing Protocol, p. 11 of 11
D. Resonance
Exercise Table D, Part 1: Masculinizing
Exercise Steps Intent/Goal Source
1. “/o/ificate”
Your Vowels
Connect /o/ lip and tongue positions and
timbre to other primary vowels.
When moving to vowels with a high tongue
position such as /i/, focus should be on
maintaining a similar rounded sensation and
lower tongue position without depressing the
larynx.
2. Beginning on a comfortable mid-low pitch
in the singer’s target registration, execute
the following:
Adapted the
concept of
/i/ification or
“smile.”
Masculinizing
GAVCT
frequently utilizes
low-back vowels
such as /o/, /a/,
and /u/ instead of
/i/. So here a
similar concept of
/i/ifying the
vowels is applied,
but with the
darker low-back
vowel, /o/.
Exercises created
by Hirner, based
on evidence
found in the
following source:
Hirsch, Gelfer,
and Boonin, “The
Art and Science
of Resonance,
Articulation, and
Volume,” 228.
2. Find the
Weight
Execute the following visualization-related
exercises:
3. Spoken “Santa Claus-like” /ho/ /ho/ /ho/
4. Transfer open, round, weighted feeling to
the following:
Target “a
‘heavier’ or more
masculine tone”
through an open
pharynx.
Exercise created
by Hirner based
on principles
found in the
following source:
Block, Papp, and
Adler,
“Transmasculine
Voice and
Communication,”
163.

171
Appendix C
Voice Self-Assessment for TGE Singers15
Trans Woman Voice Questionnaire (Formerly TVQMtF) (© 2012, Dacakis and Davies)
Adapted for gender neutrality by Stevie J. Hirner; All changes to verbiage shown in bold italics.
Name: _____________________________________________________________
Date: _____________________________________________________________
Based on your own experiences with your voice, please tick the response that fits you the best. 1 2 3 4
1. People have difficulty hearing me in a noisy room.
2. I feel anxious when I know I have to use my voice.
3. My voice makes me feel more dysphoric than I would like.
4. The pitch of my speaking voice is in the range I would like.
5. The pitch of my voice is unreliable.
6. My voice gets in the way of me living comfortably in my gender identity.
7. I avoid using the phone because of my voice.
8. I’m tense when talking with others because of my voice.
9. My voice gets croaky, hoarse, fatigued or husky when I try to speak in a voice true to my gender identity.
10. My voice makes it hard for me to be identified as my gender identity.
11. When I speak the pitch of my voice does not vary enough.
12. I feel uncomfortable talking to friends, neighbours and relatives because of my voice.
13. I avoid speaking in public because of my voice.
14. My voice sounds artificial.
15. I have to concentrate to make my voice sound the way I want it to sound.
16. I feel frustrated with trying to change my voice.
17. My voice difficulties restrict my social life.
18. When I am not paying attention my pitch goes closer to the typical range of my gender assigned at birth.
19. When I laugh I sound like my gender assigned at birth.
20. My voice doesn’t match my physical appearance.
21. I use a great deal of effort to produce my voice.
22. My voice gets tired quickly.
23. My voice restricts the sort of work I do.
24. I feel my voice does not reflect the ‘true me’.
25. I am less outgoing because of my voice.
26. I feel self-conscious about how strangers perceive my voice.
27. My voice ‘gives out’ in the middle of speaking.
28. It distresses me when I’m perceived as my gender assigned at birth because of my voice.
29. The pitch range of my speaking voice is restricted.
30. I feel discriminated against because of my voice.
Please provide an overall rating of your voice:
Currently, my voice is: Very female Somewhat female Gender neutral Somewhat male Very male
My ideal voice would sound: Very female Somewhat female Gender neutral Somewhat male Very male
15 Adapted from Dacakis and Davies, “Trans Woman Voice Questionnaire (Formerly TVQMtF), 2012.”
Rating Scale
1 = never or rarely
2 = sometimes
3 = often
4 = usually or always

172
Appendix D
Assessment Rubric developed by Stevie J. Hirner, p. 1 of 2
Name: _____________________________________________________________
Date: _____________________________________________________________
Posture
Body Part Quantitative Assessment Specific Notes
Feet 1 2 3 4
Hip 1 2 3 4
Ribcage 1 2 3 4
Shoulders 1 2 3 4
Head and Neck 1 2 3 4
Rating Scale
1 = major attention needed
2 = minor attention needed
3 = mostly ideal
4 = ideal
General Notes
Breathing Technique
Type Quantitative Assessment Specific Notes
Clavicular 1 2 3 4
Thoracic 1 2 3 4
Abdominal 1 2 3 4
General Notes Rating Scale
1 = not present at all
2 = somewhat present
3 = rather prevalent
4 = extremely prevalent
Breathing Mechanism
Mechanism Quantitative Assessment Specific Notes
Support 1 2 3 4
Control 1 2 3 4
General Notes Rating Scale
1 = major attention needed
2 = minor attention needed
3 = mostly ideal
4 = ideal

173
Assessment Rubric developed by Stevie J. Hirner, p. 2 of 2
Voice Quality
Mechanism Quantitative Assessment Specific Notes
Breathiness 1 2 3 4
Rasp 1 2 3 4
Vibrato 1 2 3 4
Timbre (dark) 1 2 3 4 (light)
General Notes Rating Scale
1 = not present at all
2 = somewhat present
3 = rather prevalent
4 = extremely prevalent
Onset and Consonants
Articulation Quantitative Assessment Specific Notes
Glottal Onset 1 2 3 4
Fricative 1 2 3 4
Plosive 1 2 3 4
Affricate 1 2 3 4
Approximant 1 2 3 4
Nasal 1 2 3 4
General Notes Rating Scale
1 = extremely closed
2 = somewhat closed
3 = rather open
4 = completely open
Range
Physiological Range General Notes
Lowest Pitch Highest Pitch
Performable Range
Lowest Pitch Highest Pitch

174
Appendix E
Sample New Singer Questionnaire developed by Stevie J. Hirner
Purpose and Privacy Clause
The purpose of this form is to gather only the necessary information to ensure that I am able to provide the
best vocal instruction to you that I can. At the end of the form, there is space to provide additional
information if you so choose. For instance, if you have any other issues you would like to share (medical or
learning) that could affect your learning and/or voice development, you may state it here – or not. Your
choice. All information will be kept confidential and only used to help your learning and vocal development.
This is not mandatory, so only share what you are comfortable sharing with your voice teacher.
Your personal privacy is valuable! Protect it.
Personal Information
1. Name you would like to be called (First and Last): ____________________________________________
1b. Legal name (if different than above) _______________________________________________
Note: you will not be referred to by your legal name unless you would like to be.
2. Age: _________ Sex Assigned at Birth: (Male or Female): ________
3. Pronouns (she/her, he/him, they/them, etc.): _________________
Musical Experience and Singing Interest
1. What experience do you have with singing? (It’s ok to have none!)
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
2. What are you hoping to achieve through voice lessons?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
3. How would you describe your general taste in music?
_____________________________________________________________________________________
_____________________________________________________________________________________
3. What kind of music would you like to learn to sing? (pop, jazz, musical theater, classical, etc.)
_____________________________________________________________________________________
_____________________________________________________________________________________
4. Are you taking lessons in preparation for something specific, or are the lessons more for fun?
_____________________________________________________________________________________
_____________________________________________________________________________________
5. Using the scale below, how comfortable are you reading music? _________
1 - I have never read music before
2 - I can identify some notes/rhythms, but not really quickly
3 - I can identify notes/rhythms with ease, but am not sure how to learn them on my own
4 - I am generally comfortable reading notes/rhythms and can pick up my part quickly if it is
played along with me, but I struggle to learn more complicated music on my own.
5 - I am completely comfortable reading and learning music on my own.

175
Appendix E – Sample New Singer Questionnaire, p. 2 of 3.
6. Using the scale below, how confident are you in your sight-reading ability? _________
0 - Sight-reading? What’s that?
1 - I wouldn’t know where to begin if someone asked me to read music I hadn’t heard before
2 - I was taught some sight-reading skills, but I don’t remember much or feel confident at all.
3 - I am kind of familiar with sight-reading and can generally manage really simple music.
4 - I am confident with sight-reading, but usually mess up with difficult rhythms/intervals
5 - I enjoy sight-reading and like to be challenged with really hard music
7. What language(s) do you speak?
_____________________________________________________________________________________
_____________________________________________________________________________________
8. Are you interested in learning to sing in a language that isn’t your first language? ______
8a. If yes, please indicate them here. (ex. Italian, German, French, Spanish, Russian, etc.)
______________________________________________________________________________
9. Do you have experience playing any instruments? ______
9a. If yes, what instruments?
______________________________________________________________________________
______________________________________________________________________________
9b. How long have you played them?
______________________________________________________________________________
9c. Did you take lessons or are you self-taught?
______________________________________________________________________________
10. How do you approach practicing outside of lessons? (It’s ok if you’re not sure how to do that.)
_____________________________________________________________________________________
_____________________________________________________________________________________
11. Individual vocal practice is similar to an athlete preparing for a competition in order to build better habits
and progress faster. With that in mind, how much time do you feel you are willing/able to dedicate
to practicing outside of lessons?
_____________________________________________________________________________________
12. What can help you stay motivated to continue lessons? (Ex. verbal feedback, benchmarks/progress
reports, performances, practice schedules, etc.)
_____________________________________________________________________________________
Personal Health and Lifestyle Habits
1. In general, how would you describe your vocal health? (Ex. Are you able to talk for extended periods of
time—like 1-2 hrs—without your voice feeling tired? Do you feel like your voice/throat is sore or
hoarse frequently, even if you haven’t been yelling or talking loudly?)
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________

176
Appendix F
Line Recombination in Mixed-Voice Ensembles: A Summary
Line Recombination in Mixed-Voice Ensembles
A Summary
CONSIDERATIONS PARAMETERS
Technique Utilize the principles outlined in the Flexible Fach Gender Affirming Singing
Protocol to develop an aural aesthetic that facilitates blend and a more
authentic gender perception of the voice.
Range Ideal: A3-F#4
Expanded: F#3-A4
• Deviations below may be easier to blend than those above.
• Ultimately, range may be driven by the individual’s capabilities.
Voice Leading Ideal: Smooth voice leading unless style demands otherwise.
• Can be measure to measure, phrase to phrase, or note to note.
• If splitting a word, it may be replaced with a rest instead.
• Melismas may require an adjustment of consonants if switching to a
different part mid-melisma.
• Adhering to an ostinato is ideal. If a significant portion lies outside the
range, it may be necessary to perform an ostinato in the more accessible
voice part. If voice leading allows, maintain the affirming part and switch
parts at a junction that allows a smooth transition.
Identity Ideal: Create a part-dominant line.
• More static vocal lines better facilitate this, especially with divisi.
• Disjunct lines and expanded ranges may require a neutral line
• In a neutral line, provide the option for both the alto and tenor pitches in
brief homophonic passages if the range allows.
Notation Notating a line is not required but may be helpful to students less comfortable
switching between clefs.
• For part-specific lines, use the clef generally associated with that part.
Unison When a unison line deviates from the ideal or expanded ranges for line
recombination, the singer’s individual abilities must be considered.
• Deviations below the range may be easier to adapt to than those above.
• Octave displacement may be utilized for specific portions of the line when
necessary.
Contemporary A Cappella This style is generally more malleable than traditional classical voice parts.
• Frequently one-on-a-part — voice classification less important
• Groups often write arrangements based on the ability of the group
• Ranges frequently overlap and content is often built upon ostinati.

177
Appendix G
Example of a Complete Recombined Line, p. 1 of 716
16 Recombined score by Stevie J. Hirner. Original Score: Brahms, Johannes. Vier Quartette, op. 92, no. 4,
“Warum.” ed. Rafael Ornes, 2000. Choral Public Domain Library.

178
Complete Recombined Line, p. 2 of 7

179
Complete Recombined Line, p. 3 of 7

180
Complete Recombined Line, p. 4 of 7

181
Complete Recombined Line, p. 5 of 7

182
Complete Recombined Line, p. 6 of 7

183
Complete Recombined Line, p. 7 of 7

Abstract (if available)

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Asset Metadata

Creator Hirner, Stevie J. (author)

Core Title (Trans)itioning voices: gender expansive vocal pedagogy and inclusive methodologies for choral directors and teachers of singing

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Degree Conferral Date 2024-08

Publication Date 06/19/2024

Defense Date 06/18/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag choir,choral,cisgender,director,ensemble,feminine,feminization,flexible fach,formant,formant tuning,gender,gender affirming,gender dysphoria,gender expansive,inclusivity,line recombination,masculine,masculinization,music,nonbinary,OAI-PMH Harvest,pedagogy,science-informed,sing,singer,singers formant,Singing,speech-language pathology,trans,trans man,trans woman,transgender,transgender and gender expansive,transition,transitioning voices,vocal health,vocal pedagogy,vocology,voice,voice and communication therapy

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Advisor Sung, Emily (committee chair), Grases, Cristian (committee member), Sparks, Tram (committee member)

Creator Email hirner@usc.edu,stevie@transitioningvoices.org

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113996WQE

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