Who sang in falsetto in the USSR. Falsetto, falsetto singing - all about falsetto! Diseases of the larynx and mental disorders

Falsetto - what is it? Quite often we hear: “He sings in falsetto.” And for some reason many people immediately think that behind this lies something bad: unprofessional, fake, far from art. In everyday life, there has long been an opinion that those who sing in falsetto are people who do not have a voice. Some believe that this is an offensive word that should definitely offend the singer. In fact, everything is not like that. In the musical world, the meaning of the word “falsetto” has almost nothing to do with falseness.

The concept of “falsetto” and its history

This word comes from the Italian falso, which actually translates as falsified, counterfeit, untrue. In the old days, falsetto was the name given to a voice that, in choral singing, performed the part above the tenor. He was entrusted with the main melody. Over time, the concept has been somewhat transformed, and today falsetto refers to the upper notes, which make the breath glide across barely touching them.

And today falsetto - what is it? He gained wide popularity in the mid-twentieth century, having “rise” to the pop stage from choral singing, which was popularly called “doo wop”. It was very popular in the USA. And the Mexican Miguel Aceves Mejia is still considered an unsurpassed master of falsetto.

Falsetto - what is it?

If we speak in the language of musicians, then this is the very voice (male), which is located above the usual range. It sounds very soft and not rich in overtones.

The falsetto voice is contrasted with the chest voice, which is characterized by fullness and chesty sound. It is created due to the participation in the process of the bronchi and lungs, which act as a resonator. And the glottis in the thoracic version is minimally narrow. With falsetto, the ligaments are far removed from each other, the gap is wide, and exhalation requires a lot of effort. The bronchi and lungs rest in this case.

Hitting a very high note is incredibly difficult - only opera singers with a lot of practice can do it. Everyone else has to switch to falsetto. He seems to falsify a natural voice, maintaining the purity of intonation. The falsetto technique is usually used by male singers. At the same time, their voice becomes similar to a woman’s.

falsetto?

To master this skill, you need to train hard and know some tricks. The following points will help you understand how to sing falsetto correctly:

• High notes require the ability to breathe deeply. And this, in turn, is impossible without well-developed lungs.
• You should move to high notes gradually.
• During falsetto, air is pushed up through the stomach - towards the head. And it vibrates there.
• The throat muscles do not tense.
• The chest does not vibrate (you can verify this by placing your hand on it).
• Only the edges of the vocal cords are involved.

Now the reader knows the answer to the question: falsetto - what is it? This is the upper voice register. Singing in falsetto is difficult. It is better to learn this skill under the guidance of an experienced teacher. And if you don’t have one, then at least stock up on special benefits.

How does the voice change?

All children, regardless of gender, have a fairly high-pitched voice. Its change to an adult occurs during puberty. At the age of 12-14 years, the vocal folds in boys lengthen and thicken. This occurs due to the influence of sex hormones new to the body. As a result of these physiological processes, the voice of a male teenager breaks and becomes lower. Due to this natural phenomenon, the fates of many singers, who had the most beautiful voices in the world in childhood, are crippled. An example of this is Robertino Loretti, who, as a child, had a unique gift. But as soon as he began to grow up, his voice changed and became quite ordinary.

Hormones are to blame

Thus, it turns out that hormones have a huge influence on the voice, and in particular on its pitch. This is why older men, whose testosterone production decreases, begin to speak in a higher voice than in their youth.

This feature of the human body has been noticed for a long time. So, since the 9th century, castrati singers have gained particular popularity in many countries around the world. Thanks to castration done before puberty, due to a lack of male hormones, their vocal folds did not undergo the changes characteristic of other young men. That is why castrati remained with their childhood falsetto throughout their lives.

In the modern world, similar phenomena also occur. For example, eunuchoidism is a disease that occurs due to insufficient functioning of the gonads. Sometimes this can be a consequence of trauma, gonorrhea or syphilis. Treatment for such patients is long-term hormone therapy.

Diseases of the larynx and mental disorders

However, there are also cases when the cause of a high voice in men is not a lack of hormones. Often the cause of the so-called mutational falsetto is an organic lesion of the mucous surface of the vocal folds or damage to the larynx, for example, resulting from injury.

In addition to organic causes, the disease can also develop due to mental disorders. The fact is that sometimes during puberty, boys begin to be afraid of their new voice or are subject to ridicule from others. Therefore, they stop speaking in a deep voice and deliberately continue to use their old voice. Gradually this habit becomes fixed.

Most often this phenomenon is observed in single-parent families. This happens because the boy simply has no one to imitate and thereby “tame” his new voice. For such teenagers, sometimes one lesson with a specialist is enough to develop a truly masculine voice.

Falsetto in performing arts refers to the upper, head notes, formed with the help of breathing, sliding and slightly touching the ligaments. The sounds produced are called a fistula. Their formation is characteristic of the male voice, capable of producing soft sounds, but limited in fullness and strength when compared with the sounds of such registers as chest or mixed.

Falsetto is a word of Italian origin, the translation of which sounds like “false.” However, experts warn the ignorant to make hasty conclusions about the sound, which, by the way, has excellent intonation purity. Experts recognize falsetto as a kind of falsification of the natural voice of a person who is unable to hit high notes. It is worth noting that falsetto is used not only by professional performers. Quite often it is used by folklore performers, for example, Tatars or Tyroleans.

How is falsetto formed? A question that has not yet received an accurate and thorough answer. We can say for sure that it is opposed to the voice formed using the chest register. The chest voice is characterized by fullness, and sounds are formed with a narrow glottis using the bronchi and windpipe as resonators. Falsetto is formed when the glottis is wide open. To form falsetto notes, the performer is required to make serious efforts when exhaling. Widely spaced vocal cords and an equally wide opening of the glottis do not contribute to the use of the bronchi and sternum as resonators, so the formation of guttural sounds and their characteristic chesty tones does not occur.

Some investigators of falsetto, for example, Vacher, note that the formation of falsetto and chest sounds is similar in terms of the same narrowing of the laryngeal fissure. However, the researchers immediately add that during falsetto, the vocal cords vibrate in their anterior part, and during the formation of laryngeal sounds, throughout their entire length. If we consider Johannes Müller’s vision of the issue, we notice his conviction in the fact of the formation of falsetto notes by vibration of the edges of the ligaments. In his opinion, when chest notes are formed, the vibration of the vocal cords occurs in the volume of the entire mass they have.

In this regard, it should be noted that falsetto, as a phenomenon, is interpreted differently by different researchers. However, the general conclusion from all the proposed material can be drawn as follows. In order for the chest voice to transform into falsetto, the performer must perform a certain “muscular maneuver.” Given such a statement, what exactly this maneuver should be, researchers do not yet know.

It is noteworthy that falsetto is used when it is necessary to color the sound in a special way.

Falsetto is a phenomenon that manifests itself differently in people. For some, it may be developed, have excellent singing qualities and significant differences from the usual voice. For others, it may be characterized by dullness, lack of expressiveness, and poor overtones. Such falsetto can hardly be used in vocal art. There have been recorded cases of the absence of falsetto in male voices, which led to the fullness and sonority of the sound of the upper register. In such cases, the quiet falsetto is combined with the main voice. Researchers suggest that this process is due to the structural features of the vocal folds, which lack thin edges.

Falsetto is a common phenomenon characteristic of chamber performance. Tenors are often recognized as falsetto virtuosos. The introduction of falsetto into opera parts is determined by the need to create a certain image.

Singing in falsetto

Singing as a phenomenon is based on such criteria as breathing, delivery and the functioning of resonators.

With the help of breathing, the note being played has support. The air flow, thanks to the lungs and diaphragm, is accurately consumed and correctly directed by the performer.

Thanks to the presentation, the performer shows his individuality. The defining criteria for this parameter are: diction, lung capacity, level of singing skills and ability to work with resonators.

Focusing on resonators, it is worth distinguishing three types: chest, nasofrontal, head.

To determine the first type, you just need to start speaking with your hand on your chest: the feeling of a slight vibration will indicate the work of the chest resonator.

Frontal or nasal resonators are used to form the voice timbre.

Head resonators are used to achieve high notes, that is, falsetto.

Singing in falsetto by most representatives of academic vocals is not recognized as a form of performing art. However, falsetto exists as a type. If you look for examples in the field of rock performers, then Freddie Mercury can be called a very prominent representative of this singing direction. Giving such an example, it is worth mentioning that falsetto seems to be a type of singing, and the vocalists of rock works mostly use mixed music.

Falsetto, as a type of vocal performance, seems to bethe upper head register of the male singing voice. It is characterized by poverty of overtones and uncomplicated timbre, which causes lightness, softness, weakness and significant sharpness of sound.

In modern conditions there are very few performers who reveal the virtuosity of falsetto. Famous names includeEric Kurmangaliev, Alexey Shcherbinin, Ian Gillan, Jimmy Somerville and others.

Falsetto as a type of singing performance

Singing in which the vibration of the edges of the ligaments is characterized by minimal indicators is called falsetto. This type of singing is compared to playing the flute. To form a falsetto, that is, high-pitched sound, a constant expansion of the glottis is required. This approach eliminates tension in the vocal cords, but does not eliminate insignificant sound volume. The sound, according to experts, can be amplified. To do this, it is proposed to tighten exit from the larynx, increase the pressure of the exhaled air flow on the edges of the significantly expanded ligaments. If we talk about the principles of forming an operatic falsetto, then the exit from the larynx of singers will be narrowed more than when using other modes. This method achieves significant power of the sound jet. If the support is correct, that is, the top of the hard palate is used, then power is manifested in the sound reflected stream. In order for low frequencies to appear in the sound, the performer must make an effort to increase the volume of the pharynx and oral cavity. In this case, the larynx cannot be lowered.

Falsetto: manner of performance

Histories of musical art claim that falsetto gained popularity in the middle of the last century. Its origins were the style of choral singing -"Doo Wop", popular among American youth.

From a simple interest in falsetto, the musicians moved on to the process of forming groups consisting of 4 performers: tenors, leader and first, baritone and bass. In this case, the bass took the lower notes, the first tenor took the highest notes, and the leader performed the main musical theme in a very simple manner.

Modern opera performers, through constant training and singing practice, achieve high, powerful notes that are difficult to remove from the depths of the lungs.

If we speak not in scientific terminology, but in simple words, then falsetto refers to the falsified voice of a man, which he imitates the voice of a woman. When the sound is produced correctly, it acquires a high pitch and is very different from the traditional male baritone.

Singing in falsetto is an art characterized by serious difficulties. For example, specialists call limited dynamics, strength and melodicism. In the process of singing in falsetto, the performer may encounter problems with speech impairment, development dull sound of the vocal cords, tone jumps.

Down and Out trouble started

It has been proven that you can learn to sing in falsetto. However, this is not given to everyone. And you need to devote a lot of time to training. At the same time, it is worth understanding the need to distort the voice in favor of not “manly” singing.

The first thing that attention is paid to is the depth of breathing, which, with constant and correct vocal warm-up, should contribute increasing air circulation in the lungs.

The performer must gradually and constantly strive to sing using high notes. To do this, it is recommended to practice producing sound by pushing air towards upper respiratory tract through the abdomen. It is recommended not to strain the throat muscles.

It is worth eliminating the possibility of vibration of the chest by moving air from the stomach to the head, where the sound should vibrate.

I’m good with falsetto, but I can’t open a loud falsetto, I don’t understand how to find and open it, I really need it in songs. The teacher and I are working on an exercise with the word YES. First down, and then sharply up, but I can’t find it! Tell me, please, what should I do?

Anna

Okay I will try. Just be prepared for a long answer. It is impossible to explain everything in “two words”...

First I want to say that OPEN volume is impossible. It’s just that the word “open” is completely the wrong word. You see, you can open something that is hidden, that is actually present, the person just doesn’t know how to do it yet CALL what it already is.

In the case of falsetto (and not only falsetto), there is no existing, but “hidden” function somewhere. It's just initially in her voice NO! Therefore we need such a function CREATE!

Falsetto is a different register of vocal folds, which you probably already understand. But the “operating mode” of folds has nothing to do with SOUND, which you will create using this register. In order to create sound, one “mode” is not enough. Need more air.

After all, why does the falsetto turn out to be quiet, faded, “white”? Because when singing using this “fold mode” the vocalist uses an excess amount of air. I write this more than once in various articles on the site and in answers to questions. The air flow should be COORDINATED with the degree of fold tension.

Here is an excerpt from an exercise (from the textbook) that will help you understand what this notorious coordination is.

Do you hear? Creaking in this case is an auxiliary technique in order to NATURAL Thus, the decreased amount of air in your exhalation “interacted” (a clumsy word, but accurate) with the folds FULLY! So that there is no air in the voice EXTRA, which leads to reflex activation of the periglottic muscles located around and near the folds themselves.

There is a falsetto, the folds are stretched! But this falsetto is tight! And at the very end of the example – it’s also loud!

BUT! This technique is only applicable if you “don’t touch” the larynx! I mean that the larynx IT IS FORBIDDEN neither lower, which is required by traditional academic vocals, nor raise, which is often observed in folk singing. If you perform any “machinations” on the larynx, then everything will be in vain. “Hug” your throat with your hand, try not to allow the larynx to shift. Not by hand, of course, it will just be a way CONTROL. And start this training with conveniently “hummed” sounds; if you “turn up” the volume, then nothing will happen, the vocal apparatus will instantly “switch” to the usual mode of holding back air. You still won’t have time to prevent this, the process is millisecond.

It is known both from vocal theory and from vocal practice that a correct, beautiful singing sound occurs if the voice sounds “supported.” But ESSENCE supports are COORDINATION! As Enrico Caruso said: “ It is necessary to turn every particle of exhaled air into sound... » EVERY! There should be no air in the voice EXTRA! So how should falsetto differ? Nothing! The same as in the chest voice. Just need some air MUCH less! That's all!

In the future, you will gradually “inflate” the found sound by adding air. But not in jerks or jumps, but smoothly, without losing FOUND SOUND. Listen to the voice at the very end of the example again.

The main thing in this training is to achieve coordination. Then it will become easier and easier... I know from experience working with my students. It's like with a car - it's hard to learn MOVE from the spot, but once it works, then it will become easier and easier.

This kind of work takes quite a long time; you may not be able to master everything in a month, however, a lot depends on your performance, motivation, desire... The number of classes, by the way, too.

Having found and gotten used to the right amount of air (this is a completely individual property, and no one measured it, this is the quantity), you will be able to work with falsetto (now not a falsetto, but a head sound) in the same way as with a voice in the chest register. The exercises are essentially the same, only in a different tessitura. Development will occur gradually, of course, but you will have something to develop. Although you will not be immune from difficulties, they will, of course, exist.

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Anatomically, falsetto is born by sound production when the vocal folds go into a mode in which only the outer layers of tissue closest to the gap vibrate Mucosa.

Sound and application

Falsetto differs in timbre from chest voice. In some people it may be quite developed and have very acceptable singing qualities, but it is still significantly different from the main voice. Other people's falsetto is less expressive, dull, and poor in overtones, which limits its use in singing. Quite often there are cases when men have practically no falsetto, the sound of the upper register is full, ringing, the falsetto practically merges with the main voice and is itself very quiet. This is probably due to the virtual absence of thin outer layers of tissue in the structure of the vocal folds.

In some cases, composers use falsetto in operas to create a certain image. For example, phrases in the parts of Falstaff in the opera of the same name by Verdi and Figaro in “The Barber of Seville” (both written for baritone) are performed in falsetto, where the characters imitate the voices of women - Alice Ford in the first case and Rosina in the second.

Falsetto is also often used as a technique in pop and rock music, as well as for singers to perform opera parts written in tessitura for a higher voice - for castrati, countertenors and male altos.

With age, the falsetto technique becomes more difficult for the performer due to age-related changes in the structure of the vocal apparatus.

Notes

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See what “falsetto” is in other dictionaries:

- (Italian, from Latin falsum deception, lie). Guttural voice. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. Falsetto artificial high notes that the singer hits with his throat; same as fistula. Dictionary of foreign words,... ... Dictionary of foreign words of the Russian language

And (obsolete) falsetto, falsetto, husband. (Italian falsetto, lit. something false). Very thin, compressed sounds of an effeminate timbre that can be produced by a male voice; the method of producing such sounds and the corresponding manner of singing. Take high... ... Ushakov's Explanatory Dictionary

- (falset, falsetto, etc., fausset in French, Fistel in German) singing is the name given to the upper head notes (see below for the method of producing them), in which the breath glides along the ligaments, slightly touching them. This sound, also called a fistula, represents... ...

- (Italian falsetto, from falso false) (fistula), the highest register of the male voice, located above the normal singing range. It sounds weak, soft, poor in overtones... Modern encyclopedia

- (Italian falsetto from falso false) (fistula), the highest register of the male singing voice; Only the head resonator is used. It sounds weak, soft, poor in overtones... Big Encyclopedic Dictionary

Falsetto, ah, husband. In singing: a very high-pitched voice (usually male), as well as a generally very thin, high-pitched (usually male) voice. | adj. falsetto, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

The vocal sound is high-pitched and has a special timbre, the formation of which has not yet been fully elucidated. F. is opposed to the chest voice. With the latter, distinguished by its fullness, the glottis is very narrow and the windpipe and bronchi play the role of ... ... Encyclopedia of Brockhaus and Efron