Falsetto is a vocal technique that often sounds lighter and airier than a typical speaking or singing voice, and is associated with the top of a singer’s range. The common fear that using falsetto is damaging to the voice is unfounded. Falsetto is a natural, healthy function of the laryngeal mechanism, representing a specific way the vocal folds vibrate to achieve higher pitches. Like any other vocal technique, falsetto is only potentially harmful when produced with excessive tension, poor breath support, or undue force.
The Mechanics of Falsetto Production
Falsetto production involves a specific coordination of muscles within the larynx, often referred to as the M2 register. To create a high pitch, the cricothyroid (CT) muscles contract, pulling the thyroid cartilage forward and downward. This action lengthens and stretches the vocal folds significantly, making them thinner and increasing their tension like a stretched rubber band.
The stretched and thinned vocal folds vibrate primarily along their thin edges, unlike the full mass vibration characteristic of the lower, or chest, voice. Because of this thin-edge vibration, the vocal folds often do not close completely during each cycle, leaving a slight gap that allows more air to escape. This incomplete closure gives falsetto its characteristic light, often breathy quality, lacking the rich overtones of a fully connected sound. The thyroarytenoid (TA) muscles, which thicken the folds for lower pitches, are largely relaxed during falsetto production.
Differentiating Falsetto from Head Voice
The distinction between falsetto and head voice is a frequent point of confusion. Head voice, like chest voice, is part of the modal register (M1), meaning it involves the full engagement and complete closure of the vocal folds. While the cricothyroid muscles are active in both to raise the pitch, head voice maintains full adduction, or contact, between the folds during vibration.
This complete closure allows for a strong connection to the singer’s breath, resulting in a more resonant, clear, and powerful sound quality. Head voice feels and sounds like an integrated extension of the chest voice, enabling a singer to maintain volume and dynamic control across the passaggio, or transition area. Falsetto, by contrast, is characterized by incomplete closure, which limits volume and projection, making the sound inherently lighter and breathier. The falsetto sound is less complex in its harmonic structure due to the lack of full vocal fold mass engagement.
Indicators of Vocal Strain and Misuse
While falsetto itself is not damaging, the way a singer attempts high notes can introduce strain leading to vocal injury. One common mistake is pushing excessive subglottal air pressure to compensate for the lack of vocal fold closure in falsetto, which causes unnecessary friction and swelling. Another sign of misuse is visible, excessive muscle tension in the neck, jaw, or throat. This tension chokes the sound and forces the larynx to work against itself, indicating the voice is not being supported correctly by the breath.
Physical symptoms that warn of vocal strain include hoarseness, a scratchy tone, and a sudden loss of vocal range following singing. Other signs of overexertion are the feeling of a lump in the throat (globus sensation) or a persistent sore or swollen throat after singing. Straining causes friction that leads to the swelling of the vocal folds, and if this misuse is chronic, it may eventually result in benign lesions like vocal nodules.
Techniques for Healthy High-Range Singing
To ensure high-range singing, including falsetto, remains healthy, singers must prioritize proper technical foundations. The most important technique is diaphragmatic breath support, where the singer inhales deeply, allowing the abdomen and lower ribs to expand. This support system enables a steady, controlled airflow that powers the sound without placing undue stress on the throat. The goal is to regulate the air’s escape, making the abdominal muscles contract slowly and with resistance, rather than pushing the sound out forcefully.
Maintaining a relaxed posture is equally important, keeping the shoulders down, the neck loose, and the jaw free of tension. A simple way to check for jaw tension is to place a finger under the chin to feel for hardness or rigidity at the root of the tongue while singing. Singers should also incorporate thorough warm-ups to gradually prepare the vocal folds for high-pitch vibration and a cool-down period to relax the laryngeal muscles afterward. Developing a high range should be a slow, incremental process, avoiding the urge to force notes that are not yet comfortable.