My non-falsetto vocal range is about E3-A5 (those are the absolute limits, but really I only feel comfortable singing from about F#3-E5) [I'm an adult male]. I'm not very good at singing in falsetto and my falsetto range only extends up to about B5, which isn't really that much further than I can already sing. Also my falsetto is very weak and, above A5, almost squeaky sounding; I can't nearly achieve the fullness of sound that a countertenor can. How can I improve it?

Also, as a related question, how can I extend my lower vocal range? Comparatively, I have a pretty low speaking voice (I think it's around F3, although it's hard to say).

Alternatively, I suspect that I may be completely misidentifying my range and it's actually E2-A4. I sang in a college choir and I was identified as a tenor though so I don't think that's the case.


1 Answer 1


Well, first your won descriptions make it very likely that you get the pitches all wrong. A5 is about the top pitch for a choir soprano, and you state that it is in your non-falsetto zone. My guess is that you've checked your pitch on some chart without taking into account that tenor parts are these days generally written one octave higher than they sound (this is often but not universally indicated by a small 8 below the clef, namely 𝄠 instead of 𝄞).

Now assuming that A4 is indeed the top of your non-falsetto zone and you are interested in extending your falsetto, you should practice downward scales from your "comfort falsetto" range into the chest voice range and try to go as smooth as possible. I have an overlap of about an octave which I can sing either in falsetto or not.

Working on a larger overlap both strengthens your falsetto as well as giving you more artistic leeway on when to change and how: a blended "mixed" voice, that elusive thing, can reasonably only be expected to work in a range accessible to both falsetto and chest voice.

And the key for matching the falsetto and chest voice characters is to work on extending the falsetto downwards. It takes quite some practice to figure out where an actively cultivated falsetto will reach and how musically useful it turns out to be (namely who will be willing to hear it). Even if you find that the falsetto is not worth turning into a principal component of your singing, the kind of voice and color control and vocal closure you acquire while working on it might turn out worth the trouble.


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