Falsetto - Use in Singing

Use in Singing

Falsetto is more limited in dynamic variation and tone quality than the modal voice. Falsetto does not connect to modal voice except at very low volumes, leading to vocal breaks when transitioning from modal voice. Most trained singers have at least an octave of range that they can sing in either modal voice or falsetto. In the absence of modern vocal training to hold back the volume of modal voice, in this overlapping area a given pitch in modal voice will be louder than the same pitch sung in falsetto. The type of vocal cord vibration that produces the falsetto voice precludes loud singing except in the highest tones of that register; it also limits the available tone colors because of the simplicity of its waveform. Modal voice is capable of producing much more complex waveforms and infinite varieties of tone color. Falsetto, however, does involve less physical effort by the singer than the modal voice and, when properly used, can make possible some desirable tonal effects.

The falsetto voice has a number of highly specialized uses within a musical context. The following list includes the most common ones:

• in rock music
• in male R&B
• commonly used in vocal surf rock, mainly by Brian Wilson of The Beach Boys
• by some lyric (Irish) tenors, folk singers, and so forth
• in Barbershop music for the Tenor voice (not always necessary) and occasionally with the Lead and Baritone voices in certain arrangements.
• in yodeling
• for comic effect in both operas and musicals
• by falsettists, sopranists, male altos or countertenors
• in a male choir, to enable the first tenor to maintain the very demanding tessitura.
• for pitches which are above the range of the modal register
• for pianissimo tones that would be difficult to execute in the modal register
• for vocal development