Sally my opinion of the origin of headvoice, and in fact so called chest voice, as distinct from falsetto, has its origins in square wave analysis. It is theoretical and grounded on well known and experienced pressure and flow rates changes.
The spectrum analysis provided by this programme currently in favour does not yield much enlightenment from what I can see. My technical background is in electronics and I am retired and no longer have access to my Hewlett-Packard facilities.
The fact that the cords remain free of contact in falsetto, implies low amplitude and sinusoidal modulation. The pressure transient created by the contact and parting of cords in the other two modes suggests an open/shut rate of flow change and pressure transients, interesting, 90 degrees out of phase with each other.
The asymmetry needed to explain certain production would find the cords altering the rate of air flow, rather than in a square wave form, as a trapezoidal or saw-tooth form. Put another way, the front edges do NOT meet at the same time as the rear edges. Thus we have asymmetry.
(I understand this will still apply for individuals with one inactive cord.) Another form of asymmetry.
The transposition of the pulses so formed then become the job of the resonance systems.
In MY opinion the essential difference is the cord contact in one mode and total absence in the other.
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