What does it mean for a singer to challenge ensemble culture within a tradition that often defines participation along binary lines? Traditionally assigned to sing tenor, baritone, or bass, this study explores the narratives of cisgender males who have consciously chosen to engage in soprano-alto choir at the collegiate level. Although this context has been greatly researched in adolescence with changing voices (e.g., Freer, 2012; Sweet, 2018), social identity (e.g., Parker, 2018), and trans and gender-expansive singers (e.g., Garrett & Palkki, 2021), it has only recently begun to appear in postsecondary ensemble research in treble choral settings (e.g., McKiernan & McNickle, 2023).The purpose of this study is to examine the lived experiences of cisgender male music education students who have elected to participate in a soprano-alto choir at a Midwestern university. Using a case study design, data were collected through semi-structured interviews, student journals, and participant observations to provide a broad worldview of the motivations, challenges, and affirmations of the participants within a bounded system (Thomas, 2021). Particular attention is given to how singers negotiate vocal placement, peer and faculty perceptions, and sense of belonging within a traditionally gendered ensemble structure.The results of this case study have the potential to shed light on the implicit bias that may inform decisions regarding ensemble participation. Due to the preservice nature of the participants, it also has the potential to inform decisions made in future music education classrooms. Ultimately, this study highlights that ensemble unity is best achieved when all singers are empowered to participate authentically and genuinely.