How to Train a Boy’s Voice: Vocal Development, Puberty, and Repertoire That Works

Why do so few boys take voice lessons?

Even in my own studio—over the past two years, only five of my ninety-three students were boys under 15.

And when one of them shows up, it’s not just rare. It’s an opportunity—to shape how they see their voice, their identity, and their place in music.

Hi, I’m Drew, and today’s episode was written by Timothy Wilds. Let’s get into it.

Voice trainers work with singers across ages and genders—but when it comes to AMAB students (assigned male at birth), especially boys under 15, they’re often the minority in the studio.

In my studio, AMAB students have always been the minority—and younger boys, even more so. That scarcity makes every one of them an opportunity—not just musically, but socially and culturally.

Today, we’re talking about how to responsibly train a boy’s voice: what’s changing during puberty, what to expect, and how to pick songs that meet them where they are, vocally and emotionally.

Working with any age and gender ought to be embraced by any reputable trainer. But for me personally, nothing brings more joy than the arrival of a boy—particularly in the elementary to middle school years. Why? Because, as you can see from the data above, it’s a rare event and if one walks through your door, you’ve got a golden opportunity to encourage investment in something human culture has long defined as a gender-typical activity largely for females. This unfortunate bias is one that cannot die soon enough.

Quick note before we go on—if you’re a singer or voice teacher looking for clear, science-backed training, check out VoSci Academy.

We’re building guided courses, a focused email series, and a supportive community—all designed to help you improve your voice or your teaching with structure and clarity.

It officially launches at the end of July, and you can join the interest list now at voicescience.org—just look for the VoSci Academy sign-up on the homepage.

When a voice trainer has the privilege of working with a boy, meeting them where they are at, vocally speaking, and assigning appropriate songs, is of the highest priority. So, on today’s episode, let’s investigate a boy’s voice and songs for him to sing.

Firstly, let’s talk about a boy’s voice. As antiquated as it may sound, (and, yes, it carries a lot of baggage), we should “let a boy be a boy.” Allow me to explain. A boy doesn’t have a man’s voice—not yet. So, boys should experience and enjoy singing as a treble. The average singing range for prepubescent males is A3 to F5. With guidance they can easily sing up to G5-C6. Boys need to be encouraged to use a thin fold/head voice quality until the onset of puberty which will occur at some point between ages 9 to 14. During puberty, the increased level of the hormone testosterone in the AMAB will bring about bodily changes and this includes the vocal mechanism.

During puberty the boy’s vocal mechanism will change in the following ways. The larynx grows larger, the thyroid cartilage changes from its adolescent conical shape to its adult shape (more like a shield), and the vocal folds thicken and lengthen. These changes cause a boy’s voice to lower. A boy’s pre-puberty speech frequency sits between 210-295 Hz (A-flat3 to D4). At the onset of puberty his speech lowers slightly to 195-275 Hz (G3 to D-flat4). Post-puberty his speech has dropped to 135-205 Hz (D-flat3 to A-flat3). Please note: The ages mentioned above are generalized. When a boy enters and exits puberty is quite variable. Notice that over the span of 7 years, the lowest frequency became the highest! But that’s speech frequency. What about the singing range at these ages? An 8 year old’s vocal range is from C4 to C5. Two years later, the range will have grown to B-flat3 to E5. By age 12, we could be looking at the possibility of two octaves, from G3 to G5. This information serves to emphasize that this is a remarkable period of transition and a voice trainer needs to understand what is going on.

As a boy goes through puberty, it’s normal for his voice to show signs of pitch instability—cracking, unpredictability, and inconsistency. These are normal occurrences and should not be interpreted as signs of any vocal damage. It is also important to recognize that the shift in the sound of the boy’s voice–both in speech and in song–may cause some emotional rockiness that needs to be met with patience and self-acceptance. Because the vocal mechanism is literally growing and changing, voice training during puberty is about maintenance and discovery. Continuing to nurture his thin fold/head voice dominant sound, one that he associated with his treble voice, is vital. This quality of sound has a place in a young man’s post-puberty voice. Although different from his boyish treble sound, it is related. This period of time is also for waiting and watching for signs of how the voice is getting lower and richer due to the vocal folds lengthening and thickening. As this occurs, the voice trainer can adjust song selection to gradually make use of the boy’s expanding vocal range.

Given the amount of shifting going on, one might wonder if it’s worth training the pubescent voice at all. I would argue that it is precisely because of the level of change occurring that maintaining voice training is important. At times like these it can be comforting to have a voice trainer walking alongside to help navigate the journey. Speaking of changing voices, let’s not forget that these challenges don’t just affect AMAB adolescent voices but also trans and non-binary singers as well–and deserves its own conversation.                                                                                                                                                                                                                  

Therefore, if we want to keep all the boys who come into the studio, meet them where they are and help them make the most of the voice they have at that moment. Before launching into suggestions for song selection, let’s pause and talk about an aspect often overlooked: the intersection of the lyric, the story, and gender. A fundamental truth about singers is they are storytellers. This is why all singers, at any age level, need to possess some level of understanding of the story told in the lyrics. This is particularly true of young people just beginning to attend to the complexities of being human. The pubescent years aren’t just a time for changes to the voice. They are also a period of awakening both in terms of gender and sexuality. During such a volatile time of discovery, part of letting a “boy be a boy,” means letting any AMAB be the version of themselves they wish to be. If they want to sing songs with gender-typical “boyish” themes, let them. If they are AMAB but identify differently, guide them towards lyrics that speak broadly to a shared human experience: the beauty of the natural world; the triumph of good over evil; the gift of friends and family.

Now that you’ve assessed the story contained in the lyrics, it’s time to tailor the song to the boy’s voice. Whenever possible, a voice trainer will accommodate the desires of the student. However, should we let them sing whatever they want? The only right answer to that question is “no,” but allow me to qualify it. In my experience, students in this age range often want to sing songs imagined and written for older performers with more training. I don’t think it reveals some secret desire to pretend to be older. It’s probably motivated by whatever is popular at the time and therefore already familiar to them. The voice trainer must remember that for as much as the boy may want to sing a specific song, the trainer has to decide what is best, in terms of training, for the student. Holding the line, though best for the boy, may not be appreciated. Every now and then, a student will walk away, dissatisfied that they aren’t getting what they want. To be honest, the average voice student doesn’t know what they need, and it is the responsibility of the voice trainer to enlighten them.

As much as I hold fast with the notion that the voice trainer knows best, I also think it is prudent to be as accommodating to the student’s wishes as you can. Given that the story of the song and its emotional demands are age-appropriate, move on to the vocal and stylistic demands. Are they within the boy’s reach? If not, is it possible to modify the song so that its demands are closer to the boy’s current skill level? This kind of creative problem solving keeps the student invested and the voice trainer doesn’t feel like they are selling out.

Before we get to some suggestions of songs for boy’s voices, let’s consider some points of caution. Each comes with an example to illustrate potential pitfalls. I wish all of these were fictitious, but unfortunately they are something I witnessed.

(#1) If the song is from an animated film geared to children, odds are it was sung by an adult, and written to use what an adult voice can do. Songs from these types of films usually steer clear of themes unsuitable for children, so that’s a plus; but the vocal range required may exceed what a boy can sing. If the student can meet the vocal range requirement, they are likely unable to render the song in the same quality as the adult due to their age. If that is not a problem for both trainer and student, then wholeheartedly proceed. Just understand that there are some aspects to singing that only develop with age.

Example: “A Whole New World” sung by Aladdin in Aladdin. The song requires a range of an octave and a minor sixth. This range may be accessible by a boy but keep in mind the voice of Aladdin was sung by a 19 year old. An additional challenge with this song is it is essentially a love song between Aladdin and Jasmine. The wise voice trainer needs to ask if the boy is comfortable singing a song about young love.

(#2) As famous and unforgettable as the song may be, asking boys to sing songs that require a mature belty sound that’s only achievable in a vocal mechanism that has been refigured with the presence of testosterone, can be problematic. 

Example: “Bring Him Home” sung by Jean Valjean in Les Mis. The first actor to play Valjean was 41 years old. Much like the previous example, this song also illustrates the importance of finding a song that the boy can resonate with in terms of the story. No boy 15 or younger has lived enough life, with all its twists and turns, to voice Valjean’s desperation in “Bring Him Home.” Asking a boy to sing this song is jumping ahead both vocally and emotionally. 

Voice trainers must counsel boys against rushing ahead and missing out on what this singular period of time has to offer them. This is where the right songs at the right time can make all the difference. SO…what is right for this age group?

Consider the mainstay of voice trainers for centuries: the art song. Suggestions: Eight Songs by American Romantic period composer Edward MacDowell. These short and tuneful songs largely live within the E4-E5 octave. There are also fine settings of Robert Louis Stevenson’s beloved A Child’s Garden of Verses. Some of these are solo songs but also look at those for children’s choirs which can be easily adapted. The art song genre is a storehouse of excellent options; but always keep vocal range and subject matter front of mind when browsing.

Consider folk songs and sea chanteys. This vast world of song tells stories of adventure and discovery. Some of these may require some creative text changes to keep it kid-friendly, but it is worth the effort. Suggestions: If I Had a Hammer; Walk a Mile in My Shoes; Across the Western Ocean; Shenandoah.

Consider classic pop standards with lyrics about life, community, and friendship. Suggestions: You’ve Got a Friend; What a Wonderful World; The Whole World Smiles with You; Blue Skies; Reach Out and Touch; Lean on Me.

Consider the timeless songs of Disney’s Sherman Brothers. Suggestions: It’s a Small World, Your Heart Will Lead You Home, and Let’s Go Fly a Kite.

Here’s another great thing about folk songs, sea chanteys, and pop standards: they tend to have modest ranges because they were intended to be singable by virtually everyone. Also, all of these options are easily transposed so you can tailor the key to the boy’s voice.

Consider musical theatre featuring characters in this age range. Example: Oliver from the musical Oliver, Colin from Secret Garden, Billy from Billy Elliott, James from James and the Giant Peach, Charlie from Charlie and the Chocolate Factory, and Gavroche from Les Mis. These characters have very fine songs to sing that come with a bit more challenge both musically, vocally, and dramatically.

On the topic of musical theatre songs, be careful with choosing songs from musicals that appeal to kids but were not conceived to be performed by them. Shows like Seussical, Honk, You’re A Good Man, Charlie Brown, and The 25th Annual Putnam County Spelling Bee, were not conceived for child actors. Even the versions sold as designed for children to perform, may have been adjusted for content and length, but not always modified in terms of the original vocal demands. Here again, some creative modifications of the vocal demands may open possibilities for songs in these types of shows.

Consider lesser known musical theatre and film songs which contain some gems for young boys voices. Suggestions: John Williams’s We Don’t Wanna Grow Up from Hook, Stephen Schwartz’s Neat To Be a Newsboy from Working, Big Mole from Kurt Weill’s Lost in the Stars, and Alan Menken’s I Like it from A Bronx Tale.

In summary, working with a boy’s voice and finding suitable songs for him to sing requires some knowledge and investigation on the part of the voice trainer. With a little effort, voice training can be more inviting, more inclusive, and more effective for boys. It is well worth the effort—especially when you are given the privilege to work with a young singer who may have many years of music-making ahead.

Working with a boy’s voice isn’t about managing limitations—it’s about honoring potential. Puberty brings unpredictability, yes—but it’s also a window for exploration, confidence-building, and long-term vocal health. If we meet boys where they are—physically, emotionally, and musically—we don’t just keep them singing. We show them that their voice, in every sense, matters. And that’s a message they’ll carry for life.

That’s it for today’s episode. Thanks for listening—and as always, keep singing smart.