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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