What exactly is Falsetto?

[gno]

Is falsetto a partial closing of the vocal folds with much less TA strength than a full voice? The partial closing meaning air can escape out easily? Would Falsetto be the same as what CVT would call Neutral with Air?

[kalapoka]

Maybe you can get some ideas in this post? :

http://www.punbb-hosting.com/forums/themodernvocalist/viewtopic.php?id=1014

[jonpall]

In falsetto, the vocal folds don't touch at all and the sound is breathy. CVT calls it Neutral with air, yes.

[Jens]

it all depends on who you ask, falsetto is a word that has many meanings. In sweden for instance is falsetto is referring to the uppermalevoice(headvoice).

[gno]

Maybe you can get some ideas in this post? :

http://www.punbb-hosting.com/forums/themodernvocalist/viewtopic.php?id=1014

Yes - Rick actually started that post because I told him he was using falsetto. I'm just trying to get clarification to what is actually going on with falsetto. Neutral with air makes sense to me in some ways. Also, it seems that falsetto is "easy" to produce, like there their is not much going on with the CT / TA muscles like "full" voice. Do the TA muscles just relax let the CT muscles take over and stretch the folds?

Also, when I go up through my range the "bell canto" way, Chest - Passagio - head, CVT would say that the head would be equivalent to Neutral. But the bell canto "head" doesn't feel like falsetto to me. Nor does it seem like I could "convert" it to falsetto by adding air. But I am not sure?

[Martin H]

In CVT, Neutral, Neutral with air and Metal Like Neutral have all been referred to as falsetto. In the science field, falsetto is mostly considered as a coordination without thyroarytenoid(TA) involvement.

And then there are all the other definitions from all the other methods/schools out there.

PS. Again this is an example of why I think it's important to avoid these old "bagaged terms"! :)

[Jens]

Yepp, agreed with martin

[Rick Jones]

After all the discussion etc I'm honestly still unsure when I sing a light high note what I'm doing to get it, and whether it's falsetto or my chords are adducted.

:mad: lol.

[Matt]

Not sure if you're kidding or not but anyway, I think you can hear quite clearly the diff between (somewhat) closed folds and wide open falsetto folds here:

http://www.youtube.com/watch?v=bB99iAlqOWI

[Rick Jones]

Matt, thanks, I think I must be using falsetto mostly then.

[kalapoka]

Yes - Rick actually started that post because I told him he was using falsetto. I'm just trying to get clarification to what is actually going on with falsetto. Neutral with air makes sense to me in some ways. Also, it seems that falsetto is "easy" to produce, like there their is not much going on with the CT / TA muscles like "full" voice. Do the TA muscles just relax let the CT muscles take over and stretch the folds?

Also, when I go up through my range the "bell canto" way, Chest - Passagio - head, CVT would say that the head would be equivalent to Neutral. But the bell canto "head" doesn't feel like falsetto to me. Nor does it seem like I could "convert" it to falsetto by adding air. But I am not sure?

Trek, sorry I didn't know that. I've seen that thread and while everyone put in a lot many information in there, all it did was create more confusion. Now most of the seniors / teachers here have vast knowledge in their respective fields so they will stand by their viewpoint. I have nothing but respect for all of them.

If you want my opinion, falsetto is the airy tone quality that you can produce with little or no vocal cord adduction/closure or vocal cords not coming together. It sounds very flutey, and can be really beautiful in the context of a song when used artistically. For example, in 'apologise' by one republic, the tone you hear on 'too late' when he sings 'its too late to apologise' is falsetto to me. For me, falsetto is usually made in the higher part of your range, a nice flute-like tone. I have not been able to produce falsettos in the lower part of my range, it usually sounds breathy, wheezy, and weak if I try, and I also do not think falsetto is meant to be produced in the lower ranges.

Head voice on the other hand to me is when I am hitting high notes and they vibrate strongly on the top part of my face, around and over the bridge of my nose, and sometimes even in my forehead. Now I've seen many discussions here that are saying this type of locating vibrations are wrong, but I know what is going on in my body. I can pinpoint when the front of my face/head buzzes for strong, resonant high notes and when my upper chest/lower neck vibrates for low/middle notes. So to me head voices are for example tenor rock singers singing high notes with power and resonance. for example - in living on a prayer by Bon Jovi - the 'AAA-HAAA' in the chorus is clearly head voice.

Now I am an avid Bret Manning fan and student of his SS and MM programs, and the way he explains these things makes complete sense to me, but since his methods are often debunked here, I am a bit unsure to post this. however, I will still stick to it, and am sharing with you. See if you think this helps:

Also Kevin Richards explains it nicely (IMO)

well those were my beginner 1.5 cents. Hope it helps.

[kalapoka]

In CVT, Neutral, Neutral with air and Metal Like Neutral have all been referred to as falsetto. In the science field, falsetto is mostly considered as a coordination without thyroarytenoid(TA) involvement.

And then there are all the other definitions from all the other methods/schools out there.

PS. Again this is an example of why I think it's important to avoid these old "bagaged terms"!

Martin, with due respect, don't you think that to someone who doesn't understand CVT terms, even after reading the book for some time, all the many variations that are possible (you mentioned a few of them above) can sound like 'baggaged terms'?

I, for example, have the book, but till now have not found what CVT defines as 'Metal' in the voice. I've posted a question on that somewhere in TMV as well, but not received satisfactory explanations. How do I find/create Metal in my voice?

There is also the distinct possiblity that I am dumb or slow, but let's not count that for now :D

[kalapoka]

Part 2 of the Kevin Richards explanations -

[Martin H]

Kalapoka,

My point is that the terms CVT uses are exclusivly used within CVT and there are only ONE definition. If people have a hard time understanding CVT's definition of their terms then that's another matter.

About the "metal"...have you listened to the sound library?

[gno]

Kalapoka - thanks for posting the videos. I don't practice falsetto at all, but if falsetto is the same as head voice, then I guess I do practice it. I'm still a little trying to wrap my brain around it. CVT says that falsetto is the neutral mode. Well I did my own experiment. I can only sing very low in what CVT calls neutral. If I sing a descending scale starting in Overdrive (chest) I get to a certain point where I "flip" or crack into neutral to go further down. After this point my high overtones (metal) disappear and my voice is weaker (like Neutral). I can go real low in this weak voice. This is something I have been working on but the problem is still there - I can't sing real low in a "strong" voice which is rich in overtones.

So my experiment is starting a note in what I consider falsetto - on a high note. Then I siren down to my low range. And..what I found... I can connect this falsetto all the way down to my lowest range. So, my low range must be falsetto. Or, stated in a different way, falsetto must be neutral.

Maybe the difference that Kevin Richards can be explained by CVT as Neutral vs Neutral with Air.

Sorry for my use of the CVT terms. I only know two sets of terms so far - the traditional bell canto stuff and CVT.

[kalapoka]

Trek...IMO, falsetto is not head voice. I totally believe in that and can produce 2 very different tones on the same high note. The rest of the post you wrote I really did not understand...i am really sorry...may be Martin would be better equipped to explain it?

Martin, thanks for the CVT explanation. What you said makes more sense. The crossover of pedagogy is really confusing for learners. Regarding metal I did check the sound library that came with the book, but I do admit I will look into it again.

[gno]

Thanks kalapoka - I feel the same way as you - head voice is not falsetto. But maybe head voice is the same configuration as falsetto? (Low compression and CT is the dominant muscle) And it can be converted to falsetto (or neutral with air) by opening the folds a little to let more air escape. I guess that would be my working theory as of now. (I am NOT a vocal scientist! My theories may be totally off base!)

[kalapoka]

yeah may be you are right. I am no vocal scientist OR singer either lol...just a hungry learner. I know that falsetto can be converted into head voice by zipping up/cord closure, but am not sure if it can be done in reverse. I just tried it but got weird results lol...may be I am the problem here.

[VideoHere]

yeah may be you are right. I am no vocal scientist OR singer either lol...just a hungry learner. I know that falsetto can be converted into head voice by zipping up/cord closure, but am not sure if it can be done in reverse. I just tried it but got weird results lol...may be I am the problem here.

folks, with all due respect, it's really not that hard to hear the difference or feel it. it's very hard to sustain a phrase in falsetto because your breath isn't being retained by the closed chords. it's also a "false" sounding tone not similar to your normal vocal timbre...very feminine and airy-sounding.

lou christie's song, "lightning striking" i posted. it's a perfect example.

[Matt]

To me at least this demonstrates the difference fairly clearly:

http://www.youtube.com/watch?v=5QKakDrBefo

[Robert Lunte]

I liked Brett's explanation in that, apparently, he is saying that Falsetto is defined, among other things, by not complete fold closure... (Yes, Brett,,, thats correct)... but then goes into his "mixed voice" = a mystery "half chest / half head" voice definition... and begins to create confusion. See, teaching people this "mixed voice" idea just creates confusion... with definitions like this, Why wouldn't Martin and his CVT buddies throw their hands in the air and say... "forget it", lets just teach that it doesnt exist, and then we dont have to deal with this.

Kevin's definition is is more on the point. Kevin, BTW... is an Certified Instructor of TVS. www.tvscertifiedinstructor.com

OK... honestly guys, after all the discussion we have had here on TMV Forum, Why is this still confusing people? PLEASE, please, please... listen to what I am saying!

Head Voice & Falsetto are NOT the same thing. (Jens, I dont care if the King of Sweden thinks it is... its wrong dude, "Falsetto" is not synonymous with "head voice". But unfortunately, this idea is being taught out there in mass, apparently in Sweden, but Im willing to bet, my colleague from Stockholm... whom Ive met and worked with closely for a few years, Dr. Daniel Borch and his mentor, none other then, Dr. Sundberg would NOT agree with you.

So on with the proper definition of Falsetto. To define Falsetto, you also have to define head voice for the simple problem Im referring to above, you have to clean up all the semantic/definition confusion that is out there.

Falsetto: Falsetto is one of the 6 original Estillian/EVTS vocal modes. (Estill is a vocal program that does not teach you how to sing, although some people would claim it does... but it will teach you a lot about vocal physiology and presents a smart way of categorizing several key, unique kinds of phonations the human voice can make for the purpose of understanding how to make these unique phonations for vocal therapy and the art of singing. The 6 Estill vocal modes are: speech, sob, opera, belt, twang and falsetto. Each have their own unique laryngeal physiology that is studied and understood in the work at Estill, which I have studied for the purpose of understanding the vocal modes. Falsetto is characterized by disengagement of Thyroarytenoid contractions (correct Martin) and more obvious, the lack of vocal fold closure. Falsetto is "windy". It has a windy, breathy sound to it and it ONLY resides in the Head voice. You cant sing Falsetto mode in the chest voice... if your windy in the chest voice, you are whispering, not singing Falsetto. That is to say, if your in your upper register and phonating a windy, "feminine" sound, your probably phonating in Falsetto mode... and most of us know what that sounds and feels like. Falsetto is a vocal mode to be scientific, or... its a sound that is windy and feminine in the head voice. Its NOT a place. Its not a register.

Head Voice: This is an abstract term that is generally accepted in voice pedagogy, when properly defined, means the upper vocal register. The Head Voice is a vocal register, its "that" higher voice where you can sing high notes... either full or windy... Referring to above, you can phonate different kinds of vocal modes in the head voice... Falsetto is only one of several. You can also phonate distortion, Belts, Sob and most importantly, Twang... in the head voice. Head voice is a register, it is the "place" where high notes phonate. It is that upper voice.

Summary:

Head Voice is your upper register, it is a place where high pitch phonations occur. Falsetto is not a place, its a vocal mode. Its a term to describe a certain kind of sound that is created when you are phonating without good vocal fold closure, IN the head voice. You can phonate Falsetto or Twang and different kinds of modes in the head voice.

So the trick to "bridging and connecting" and sounding amazing is as follows, and Im over simplifying here ... you must 1st learn to bridge to the head voice... get to the upper register without breaking and choking... THEN, you must learn to phonate key vocal modes in the head voice, namley... Falsetto for your training and twang to make your head voice sound like a chesty belt... inside the low head tones , which we refer to as the "covered region"... but that takes us into another debate already blowing out on another post.

Head Voice is the upper register, divided by the Passagio with the Chest Voice.

Falsetto is a vocal mode.

End of argument... all cleared up and understood... NOW go TRAIN... and stop thinking that Falsetto and Head Voice is the same thing... and forget about this "mixed voice" talk track... What some people want to call "mixed voice", because its real popular... is really a term we call "Covering" at TVS and "covered" phonations are low head tones... they are notes that sit low in the head voice.

[Martin H]

Falsetto is "windy". It has a windy, breathy sound to it and it ONLY resides in the Head voice. You cant sing Falsetto mode in the chest voice...

Nice post Robert! Though your statement that falsetto (no TA involvement) can ONLY resides in the headvoice is not quite true. I can personally sing with this coordination quite low. Also this is recognized within the field of voice science:

"In male falsetto, for instance, a typical lower pitch range appears to be about E3 to C4. In that pitch range, the vocal folds are as short and thick and lax as they can be without activation of the thyroarytenoid muscles."

P. 32, ADDRESSING VOCALREGISTER DISCREPANCIES: AN ALTERNATIVE, SCIENCE-BASED THEORY OF REGISTER PHENOMENA , Leon Thurman, Ed.D. Graham Welch, Ph.D. Axel Theimer, D.M.A. Carol Klitzke, M.S., CCC/SLP - Second International Conference -The Physiology and Acoustics of Singing -National Center for Voice and Speech 6 – 9 October 2004 Denver, Colorado, USA

Another important thing to notice is that if you twang a lot in this coordination you can also remove the "breathy" or "windy" sound -and it can actually become a full ringing sound (especially in the higher range).

Actually Steven Fraser also talked about this matter in another thread:

Falsetto can be done with a fully-adducted vocal process, even including twang, resulting in a clear, somewhat ringy tone, quite commonly used by classical falsettists. Without the twang, it can be made very softly and delicately. Falsetto can also be done with an incomplete adduction, resulting in a breathy tone quality. For all of them... the key characteristic which defines the register is the vocal process motion which results when the CT is not active.

This definition means that falsetto can be sung over a good range of notes, but not with equal power. Since the TA action is not present, the vocal process will not adjust as it would in modal voice during descending note patterns.

:)

[chele1000]

This is falsetto......my husband and I both agree....especially in the oooooo's

very nasal sound...more air....like I was trying to described in the other thread.

cheers!

[gno]

This is falsetto......my husband and I both agree....especially in the oooooo's

very nasal sound...more air....like I was trying to described in the other thread.

cheers!

Definitely!

[kalapoka]

I never had any problems understanding what mixed voice is...made good sense to me...:|