Line Recombination:
Methodology
“Stevie Hirner’s ‘line recombination’ method transforms the idea of re-voicing individual vocal parts by aligning her process with evidence-based vocal pedagogy (Miller, 1996) and by modeling representational justice for trans and gender-expansive persons.
When you sing one of her recombined vocal lines, you experience deep empathy for trans and gender-expansive singers while realizing new possibilities for musical success that were already present in the composer’s score.”
— Dr. Matthew L. Garrett, co-author:
Honoring Trans and Gender-Expansive Students in Music Education, Oxford University Press, 2021
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Line Recombination is the creation of a new, intermediate vocal line by combining portions of the existing alto and tenor lines in a piece.
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Range:
General tessitura: A3-F#4; Flexibility for brief occurrences higher or lower; Try to avoid range extremes (higher than A4; lower than F#3)
"Singability"
Create the smoothest line possible, unless the character of the piece calls for a more disjunct approach;
Identity of the Singer:
If possible, draw from the voice part which traditionally corresponds with their gender identity.
ex. feminine identity: draw from alto
ex. masculine identity: draw from tenor
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Hypothetical Singers:
Sally (she/her)
30, transwoman, 5 yrs on HRT, former Baritone, countertenor 5 yrs, current Alto/Sop II
No line recombination needed
Sam (they/them)
22, non-binary AMAB, no HRT, current Baritone, wants to sing alto
Potential line recombination to aid transition while learning to use head voice
Tom (he/him)
26, transman, no plans for HRT; current soprano; vocal dysphoria; would like to sing Tenor
Potential line recombination to aid as chest voice develops or when the Tenor line is too low
Jake (he/him)
18, transman, 6 mo on HRT, former Soprano, has vocal dysphoria
Potential line recombination to aid transition during voice change
Jodie (she/her)
25, transwoman, 1.5 yrs on HRT; Sings Tenor; No vocal dysphoria
No line recombination needed
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Sicut Cervus - Giovanni Pierluigi da Palestrina
Ave verum corpus - W.A. Mozart
Warum, Op. 92, No. 4 - Johannes Brahms
Gloria, no. 2 “Laudamus Te” - Francis Poulenc
The Seal Lullaby - Eric Whitacre
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While I was teaching in public schools and before I was “out” as transgender, I frequently saw the struggle of my transgender and gender-expansive (TGE) students as they tried to reconcile where their voices fit in the ensemble with their gender identity. Some wanted to sing a lower part than they were capable, some a higher one, but in either case, they likely wouldn’t be able to sing everything their desired voice part in an SATB ensemble demanded of them. Then, as I began to research this topic during my doctoral studies, I realized: What if there was a line that choristers could sing in-between tenor and alto to help these struggling singers?