“With the vocalis muscles relaxed it is possible for the cricothyroids to place great longitudinal tension upon the vocal ligaments. The tension can be increased in order to raise the pitch even after the maximum length of the cords has been reached. This makes the vocal fold thin so that there is negligible vertical phase difference. The vocalis muscles fall to the sides of the larynx and the vibration take place almost entirely in the ligaments.”
In the modal register, the vocal folds (when viewed with a stroboscope) are seen to contact with each other completely during each vibration, closing the gap between them fully, if just for a very short time. This closure cuts off the escaping air. When the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates an oval shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement, a certain number of times a second, creates a pitched note.
In falsetto, however, the vocal folds are seen to be blown apart and in untrained falsetto singers a permanent oval orifice is left in the middle between the edges of the two folds through which a certain volume of air escapes continuously as long as the register is engaged (the singer is singing using the voice). In skilled countertenors, however, the mucous membrane of the vocal folds contact with each other completely during each vibration cycle. The arytenoid cartilages are held in firm apposition in this voice register also. The length or size of the oval orifice or separation between the folds can vary, but it is known to get bigger in size as the pressure of air pushed out is increased.
The folds are made up of elastic and fatty tissue. The folds are covered on the surface by laryngeal mucous membrane which is supported deeper down underneath by the innermost fibres of the thyro-arytenoid muscle. In falsetto the extreme membranous edges, i.e. the edges furthest away from the middle of the gap between the folds, appear to be the only parts vibrating. The mass corresponding to the innermost part of the thyro-arytenoid musscle remains still and motionless.
Some singers feel a sense of muscular relief when they change from the modal register to the falsetto register.
Research has revealed that not all speakers and singers produce falsetto in exactly the same way. Some speakers and singers leave the cartilaginous portion of the glottis open (sometimes called mutational chink), and only the front two-thirds of the vocal ligaments enter the vibration. The resulting sound, which is typical of many adolescents, may be pure and flutelike, but is usually soft and anemic in quality. In others, the full length of the glottis opens and closes in each cycle. In still others, a phenomenon known as damping appears, with the amount of glottal opening becoming less and less as the pitch rises, until only a tiny slit appears on the highest pitches. The mutational chink type of falsetto is considered inefficient and weak, but there is little information available about the relative strengths and weaknesses of the other two types.
One possible explanation for this failure to recognize the female falsetto is the fact that the difference in timbre and dynamic level between the modal and falsetto registers often is not as pronounced in female voices as it is in male voices. This is due in part to the difference in the length and mass of the vocal folds and to the difference in frequency ranges. It is an established fact that women have a falsetto register and that many young female singers substitute falsetto for the upper portion of the modal voice. Some vocal pedagogists believe that this failure to recognize the female falsetto voice has led to the misidentification of young contraltos and mezzo-sopranos as sopranos, as it is easier for these lower voice types to sing in the soprano tessitura using their falsetto register.
By the 16th century the term falsetto was common in Italy. The physician Giovanni Camillo Maffei in his book Discorso della voce e del modo d'apparare di cantar di garganta in 1562 explained that when a bass singer sang in the soprano range, the voice was called 'falsetto'.
The falsetto register is used by male countertenors to sing in the alto and occasionally the soprano range, and was before women sang in choirs. Falsetto is occasionally used by early music specialists today, and regularly in British cathedral choirs by men who sing the alto line.
In Opera it is believed that the chest voice, middle voice and head voice occur in women. The head voice of a man is, according to David A. Clippinger most likely equivalent to the middle voice of a woman. This may mean the head voice of a woman is a man's falsetto equivalent. Although, in contemporary teaching, some teachers no longer talk of the middle voice, choosing to call it the head voice as with men. Falsetto is not generally counted by classical purists as a part of the vocal range of anyone except countertenors. There are exceptions, however, such as the Bariton-Martin which uses falsetto (see baritone article).
In Hawai'i, many Hawaiian songs feature falsetto, called "leo ki'eki'e", a term coined in Hawaiian in 1973. Falsetto singing, most often used by men, extends the singer's range to notes above their ordinary vocal range. The voice makes a characteristic break during the transition from the ordinary vocal register to the falsetto register. In Western falsetto singing, the singer tries to make the transition between registers as smooth as possible. In Hawaiian-style falsetto, the singer emphasizes the break between registers. Sometimes the singer exaggerates the break through repetition, as a yodel. As with other aspects of Hawaiian music, falsetto developed from a combination of sources, including pre-European Hawaiian chanting, early Christian hymn singing and the songs and yodeling of immigrant cowboys during the Kamehameha Reign in the 1800s when cowboys were brought from Mexico to teach Hawaiians how to care for cattle. Falsetto may have been a natural and comfortable vocal technique for early Hawaiians, since a similar break between registers called "ha'iha'i", is used as an ornament in some traditional chanting styles.
There is a difference between the modern usage of the "head voice" term and its previous meaning in the renaissance as a type of falsetto, according to many singing professionals. The falsetto can be coloured or changed to sound different. It can be given classical styling to sound as male classical countertenors make it sound, or more contemporary as is the case in modern R&B music(Ronald Isley for example). It can be made in different tonalities as is often the case of its use in progressive rock (for example, Roger Taylor of Queen, Matt Bellamy of the band Muse and Thom Yorke of the band Radiohead), heavy metal (for example, King Diamond of Mercyful Fate), Penny Torture of Psychotherapy and especially power metal (for example, Michael Kiske(debated) of Helloween).
That being said, the falsetto voice has a number of highly specialized uses within a musical context. The following list includes the most common ones: