Falsetto

Falsetto (/fɔːlˈsɛtoʊ, fɒl-/ fawl-SET-oh, fol-, Italian: [falˈsetto]; Italian diminutive of falso, "false") is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.

It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both sexes, is also one of four main spoken vocal registers recognized by speech pathology.

The term falsetto is most often used in the context of singing to refer to a type of vocal phonation that enables the singer to sing notes beyond the vocal range of the normal or modal voice.^[1] The typical tone of falsetto register or M2, usually has a characteristic breathy^[2]^[3] and flute-like sound relatively free of overtones^[4]^[5]—which is more limited than its modal counterpart in both dynamic variation and tone quality.^[6] However, William Vennard points out that while most untrained people can sound comparatively "breathy" or "hooty" when using falsetto production, there are in rarer cases individuals who have developed a much stronger falsetto sound production, which has more "ring" to it.^[7]

^ Stanley Sadie; George Grove, eds. (1995). The New Grove Dictionary of Music and Musicians. London: South China Printing Company. ISBN 9781561591749. OCLC 5676891.
^ Joseph C. Stemple; Leslie E. Glaze; Bernice K. Gerdeman (2000). Clinical Voice Pathology: Theory and Management. Singular. p. 359.
^ Gillyanne Kayes (2000). Singing and the Actor. Psychology Press. p. 156.
^ Shirlee Emmons; Constance Chase (2006). Prescriptions for Choral Excellence. Oxford University Press. ISBN 9780198040231.
^ Van Ambrose Christy (1975). Expressive Singing. W. C. Brown. p. 95.
^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.
^ William Vennard (1967). Singing: The Mechanism and the Technic. Carl Fischer Music. p. 89.

[:0-1] Stanley Sadie; George Grove, eds. (1995). The New Grove Dictionary of Music and Musicians. London: South China Printing Company. ISBN 9781561591749. OCLC 5676891.

[2] Joseph C. Stemple; Leslie E. Glaze; Bernice K. Gerdeman (2000). Clinical Voice Pathology: Theory and Management. Singular. p. 359.

[3] Gillyanne Kayes (2000). Singing and the Actor. Psychology Press. p. 156.

[4] Shirlee Emmons; Constance Chase (2006). Prescriptions for Choral Excellence. Oxford University Press. ISBN 9780198040231.

[5] Van Ambrose Christy (1975). Expressive Singing. W. C. Brown. p. 95.

[McKinney-6] McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.

[7] William Vennard (1967). Singing: The Mechanism and the Technic. Carl Fischer Music. p. 89.

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