I’ve come to realize that something vital is missing from many instrumental music classrooms in the U.S. — something I took for granted growing up. It’s simple, powerful, and free: singing.
I didn’t know how lucky I was to have it until I became a teacher.
My journey with music began at eleven years old in Brazil, where music isn’t part of the standard school curriculum. There, if families want their children to study music, they usually have three options: private lessons, government-subsidized conservatories, or nonprofit programs. My mother enrolled me in a conservatory, where I received all of my pre-college training after school. Although violin was my primary instrument, I was also required to study music theory, music history, and participate in choir.
Singing was woven into every part of my musical education. At the time, I didn’t consciously realize how lucky I was to have this experience or how much it was helping me; how it was shaping me into a better violinist and a more complete musician. That realization only came years later, after I began teaching orchestra in Texas public schools.
When I started teaching middle school orchestra, I asked students to sing short passages from their music and was met with resistance:
“We didn’t join choir — this is orchestra.”
That response confused me. How was singing a phrase to internalize pitch or rhythm the same as being in choir? For me, singing had always been a natural part of learning music. But as a young and inexperienced teacher, I let their discomfort shape my methods. I kept singing to them, but I stopped asking them to sing with me.
Years later, after transitioning to high school, I began noticing deeper problems. Many students struggled with ear training. They often couldn’t correct pitch unless I physically adjusted their fingers — even after I pointed out they were sharp or flat. Fingerboard tapes became a crutch. Musical phrasing felt like an afterthought — even in our top ensemble.
Then, in the summer of 2022, everything shifted.
I was teaching at a music camp in Arlington, TX, and had the chance to work with Andrew Treviño, a rare double All-Stater in both Mariachi and Orchestra. During a coaching session on Bartók’s Romanian Folk Dances, I sang a phrase and asked, “Can you play it like this?” He played it back immediately — with nuance and expression. I was stunned. I had been trying this approach for years with limited success. The difference?
Andrew sang.
I later learned he was a Mariachi musician, which made perfect sense. His ability to match pitch and shape a musical line was deeply rooted in his singing background. That experience reminded me of something I had always known — and inspired me to reintroduce singing into my teaching.
I started small, but I committed, and the research backs up what I observed in the classroom. “Singing develops audiation, aural skills, pitch discrimination, sight-reading, phrasing, intonation, and the vital connection between hearing and playing” (Weimer & Rutkowski, 2023, p. 43). In addition to that in many cultures around the world, music is learned only by ear and through singing. “Not only is developing aural acuity good educational practice, but it is also a way to honor what many of our students bring to the classroom. Many of our students that engage in music outside of school have learned music through an aural tradition” (McKoy & Lind, 2016, p. 48).
Of course, singing in instrumental settings comes with challenges. Teachers may worry about sacrificing time needed for technique and literacy. Students may feel uncomfortable or lack confidence in their singing (Weimer & Rutkowski, 2023, p. 43). These concerns are valid. But when singing is embedded early — especially in beginner classes — it becomes normalized. When that foundation continues through middle and high school, the benefits become clear: better intonation, stronger ensemble cohesion, and deeper musicality.
By the time UIL season rolls around, directors can spend less time tuning and more time on balance, phrasing, and artistry — making the process more fulfilling for both teachers and students.
So, how can we incorporate singing into instrumental music classes?
Whether you’re just getting started or looking to build consistency, here are some strategies to consider:
If you’re just starting:
- Begin with small, simple phrases from the repertoire. Choose lines with stepwise motion and minimal leaps.
- Always connect the singing directly to playing.
- With beginners, this is even easier — they don’t know any other way yet! Have them sing full exercises and help them find a vocal register that fits their voice (many 6th graders are still singing comfortably in treble clef range).
If you already use singing and want to build consistency:
- Make it part of your daily warm-up routine.
- Reinforce conducting technique — have students sing while following your gestures. Students could also conduct while they sing, or take turns conducting the ensemble.
- Divide the ensemble: one half sings while the other plays, then switch.
- Want to go the extra mile? Add Bach chorales to your warm-ups. Have students sing them first, then play. (And if you do this — please invite me to come watch!)
Be prepared for some resistance — that’s part of working with kids. Thirteen years ago, an inexperienced Aline gave in to that resistance. But I also ended up working twice as hard to help students play in tune and with expression. It wasn’t until Andrew Treviño reminded me, without even realizing it, that there was a better way. A way I already knew. Singing isn’t a distraction from our goals as orchestra teachers. It’s a tool — one of our best — to reach students more effectively. If you feel unsure about singing in front of your students, start by practicing a little each day. You’ll grow in confidence and artistry, and you’ll also model musical vulnerability and growth. Over time, singing will help you guide your students toward better pitch, phrasing, and understanding — making your job easier and your ensembles stronger.
Reference List
Weimer, B., & Rutkowski, J. (2023). Playing musically: Developing healthy and expressive singing instrumentalists. Music Educators Journal, 109(4), 29–35. https://doi.org/10.xxxxx
Lind, Vicki R., and Constance L. McKoy. 2021. Culturally Responsive Teaching in Music Education: From Understanding to Application. 2nd ed. New York: Routledge. https://doi.org/10.4324/9781003208136-5.