This article explores tensions in Western classical vocal pedagogy through the lenses of queer theory and Bernstein's work. Using Basil Bernstein's theories of "Pedagogic Codes" and the "Pedagogic Device", I examine how strong classification and framing shape power dynamics and limit vocal identity within traditional voice education. I position "multivocality"--the ability to sing across genres and styles--as a pedagogical and theoretical intervention that challenges rigid norms and expands expressive possibilities. Drawing on autoethnographic reflection, queer theory, and critical music education scholarship, I trace how voice classification, particularly my own experience as a "bass," functions as a site of both constraint and resistance. By incorporating multivocality into vocal training, educators can weaken exclusionary codes and foster more inclusive practices. This work invites a reimagining of vocal pedagogy as a space for agency, plurality, and pedagogical transformation.