An encyclopedia about voice, swallowing, airway, coughing, & other head + neck disorders.

Falsetto Register

Falsetto register is a term that is applied especially to men to the high “feminine” quality sound available to most above the chest (normal speaking) register. Some call this head register. Falsetto is used in some countertenor voices and, in other cases, for comic effect.

Some use “falsetto” as a term to denote the voice quality above the first break, whether in the male or female voice. This is the quality used by female classical singers, as compared with a more intense chest voice phonation used in most popular styles. The language and concepts used to describe vocal registers vary widely; hence, care is warranted so as to not take any single definition, such as ours, too seriously!

Male Chest Voice, Then Falsetto — Same Singer

This recording features the same male singer performing in two distinct vocal registers. In the first aria, he sings in his chest voice as a light baritone. In the second aria, the very same singer performs in his falsetto register.

While some men are able to sing effectively in both registers, many do not develop a fully functional falsetto. This example demonstrates the contrast clearly.

The presentation begins with the opening bars of each aria placed side by side, followed—for those interested—by the complete performance of each aria.

Falsetto vs Chest Registers at the Same Pitch—This is Worth Careful Study

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Falsetto register (1 of 6)

A 20-something man with puberphonia. Here, in distant view, he is in falsetto register at F#3 (185 Hz). His low falsetto is, by the way, remarkably stable and capable. Compare the vibratory blur with the next photo.

Chest register (2 of 6)

At virtually the same pitch, but now in chest register. Firmer closure (and longer closed phase of vibration explains the more-adducted blur as compared with photo 1.

Falsetto, open phase (3 of 6)

Now back to falsetto register under strobe light, and with better magnification. This is open phase of vibration also at F#3. Note the single, thinned “leading edge” of each fold.

Falsetto, “closed” phase (4 of 6)

Closed phase at the same pitch isn’t in fact fully closed, and the “closed” phase of vibration is also shorter than in photo 6.

Chest, open phase (5 of 6)

Open phase of vibration at the same pitch, but in chest register. Note the fatter, grey vocal cord margin. Compare with photo 3.

Chest, closed phase (6 of 6)

Closed phase still in chest register is fully closed and it takes longer for the vocal cords to part for the next vibration; that is, the closed phase of vibration is longer. Tighter closure and longer closed phase explain why the blur between the cords seen in photo 2 is different than in photo 1.

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