Most people understand that adolescent boys go through a period of voice change. Much has been written about helping young men and their singing teachers navigate the journey from childhood voice to adult voice (for example, MT Singing Pop with KS2 and 3, March 2023; ‘Vocal Clinic: Breaking Good’, April 2014; and Breaking the Silence, June 2024). What is less well-known is that adolescent girls also experience voice change.
In recent years there has a been a move towards describing teenage voice changes in more inclusive language. The phrase ‘voice breaking’ is now recognised as an unhelpful and negative way to describe a normal developmental process. The term ‘testosterone-related voice change’ is now more frequently applied to this time of transition. This is a useful phrase, as it not only removes the negative associations with voices ‘breaking’ but it more fully encompasses vocal changes experienced by male, female and non-binary people.
While girls’ voice changes can be more subtle, they can still have a significant impact on singing. Understanding these changes and their causes can help teachers develop useful strategies for limiting their impact on girls’ vocal development and enjoyment. This article introduces some of the most common changes girls notice in their voices during puberty. It offers an overview of some key considerations when working with changing female voices, and some strategies and links to resources that can be used as a starting point for further learning. It is not an exhaustive account and neither does it consider the particular needs of young adults who may be transitioning. That is a complex topic that requires a more detailed discussion.
What to look out for
From the ages of around 10 to 16, girls may notice the following in their voice:
- The ability to reach lower pitches
- Struggling to comfortably sing higher pitches
- A lowered speaking voice
- Inconsistent range (the available range may change from week to week, or even day to day)
- A breathy quality to the voice
- Huskiness or hoarseness
- A decrease in vocal stamina (the length of time they can sing)
- Noticeable instability around register changes (for example, cracking and yodelling sounds)
- Difficulty starting notes (onset)
- Insecurity with pitch intonation
- a ‘thin’ tone or lack of colour and warmth in the sound
- Difficulty controlling dynamics (particularly using crescendo and diminuendo)
- Uncomfortable singing (often reported as discomfort in the throat, but sometimes related to other areas of the body).
Why do these changes occur?
As with other areas of the body, the larynx goes through a period of growth during puberty. The structure of the larynx get bigger and thicker, along with the vocal folds, which lengthen and thicken. The larynx consists of several cartilages, which can be weaker through the period of growth. For girls, this can lead to breathiness as it limits the ability for the vocal folds to gain full closure. This is sometimes referred to as ‘glottal chink’ as it is characterised by a lack of adduction (coming together) at the posterior (back) of the vocal folds. 
Adobe Stock / Alila Medical Media
Additionally, the structures of the face, head and neck (including nasal cavities, pharynx and nose) grow. These make up the resonating chambers when singing and speaking, and their enlargement contributes to our perception of a person’s vocal tone qualities and resonances.
Growth changes can impact the quality of the voice. This is particularly important in relation to girls’ vocal self-perception. Often, these changes can be an unwelcome surprise and the feedback singers have from their own voice can cause them to modify their technique in order to compensate for these changes. Compensatory changes can often set up unhelpful habits and patterns of tension that can negatively impact vocal health. Therefore, it is important to reinforce good technique, to listen to recordings of the voice (as our self-perception – mediated through bone conduction – is very different from the voice audiences hear), and to reassure girls that this is a healthy phase.
Hormones and menstruation
As well as initiating growth, hormones exert other influences over girls’ voices. The female voice, throughout life, is influenced by oestrogens, progesterone and testosterone. Studies have shown that in puberty and around menstruation, these hormones can be correlated to vocal fatigue, decreased range, a loss of power and loss of certain harmonics. It is understood that this is due to their effect on the vocal folds. Visual imaging, through a stroboscope, has shown that during menstruation the vocal folds can appear swollen and congested, particularly in the posterior part, which may account for the breathiness experienced by many adolescent girls.
It is also worth noting that during menstruation, as well as these localised effects of hormonal changes, girls can experience systemic challenges, such as extreme fatigue, low mood, stomach cramping and other muscular aches. We must remember that singing is a holistic endeavour that requires coordination of body and mind. There are numerous biological, psychological and social factors surrounding puberty and menstruation that can impact a girl’s confidence in their ability to craft their voice. As teachers we ought to be mindful of these potential challenging factors and develop our own awareness skills to help singers navigate this time.
Potential pitfalls
The most important part of vocal teaching (as with all teaching) is to be responsive to the person or people in front of you. Knowing your student(s) is crucial for ensuring that you are supporting them well. The changes noted above, and the strategies below, are general principles that will apply to most people. However, people are unique and one person’s experience of adolescent voice change will not be the same as another’s. Similarly, strategies that work for one girl may not be appropriate for all your students, despite them sharing similar characteristics.
Generally, it is advisable to avoid singing at the extremes of tempo, pitch, volume and length of phrase. Repertoire designed to be sung by bigger adult voices (usually music to be sung over an orchestra) should be avoided. It is also worth noting that when working on breathing during a time of menstruation, girls may be experiencing cramps and insecurities about their bodies. Bloating, weight-gain and other changes should not matter, however on a social level teenage girls are subject to judgment and unkindness, and working with abdominal breathing strategies may be triggering.
When working with singers in choirs, it can be tempting to assign girls with a strong lower range (and good sight-readers) to alto parts. However, although girls may at first be comfortable at lower pitches, their voices may (and probably will) change. Avoiding categorising young voices is important. Adolescents need the opportunity to explore their whole range of pitches and vocal colours. Where possible, encourage singers to switch parts and experiment with their developing voices
Solidarity and support
It is important to talk to girls about their voice changes and educate them about the reasons for any changes they may expect. If singers know how their voices work, then they will be better placed to seek healthy solutions during times of vocal challenge. These conversations can be challenging, especially if you do not have personal lived experience of these things. However, you will find a variety of sources of information below, including resources that you can signpost your singers towards. Above all, the most important things teachers can give those going through voice change are reassurance, understanding and kindness.
Topics to exploreThere are many excellent resources available to support you as a teacher of teenage girls. Below are some of the key areas you may like to explore as a starting point, and then suggestions for further reading:
Strategies for vocal fold closure/onsets:
- Using fry/creak
- Using gesture and embodied imagery
- Using semi-occluded vocal tract exercises (SOVTEs)
- Playing with gentle plosive sounds
Strategies for managing airflow/pressure changes:
- Using semi-occluded vocal tract exercises (SOVTEs)
- Accent method
- Abdominal breathing
- Movement
Strategies for resonance:
- Character voices
- Primal sounds
- Playing with vowels (tongue positions)
Strategies for managing anxiety:
- Box breathing
- Mindfulness and positive affirmations
- Yoga
Links and references
- Williams, J. (2012) Teaching Singing to Children and Young Adults. Compton, jenevorawilliams.com/book-and-dvd
- Sparkhall, O. (2022) A Young Person’s Guide to Vocal Health. Compton, oliviasparkhall.wixsite.com/sparkhallo/a-young-persons-guide
- vocalprocess.co.uk/adolescent-voice-change-in-teenage-girls
- britishvoiceassociation.org.uk
- aotos.org.uk (Association of Teachers of Singing)
