<https://www.themodernvocalistworld.com/topic/900-falsetto-training/#comment-10773>
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"Nathan:  Yes it works.  The relevance will be clearer if you understand the purpose of falsetto training, that is... what it accomplishes, and how that relates to full voice singing. \n \nTo help with this, we will use the muscles of the arm as a parallel to the muscles in the larynx. \n \nConsider your elbow. When you want to position your hand close to the shoulder on that arm, your bicep shortens and changes the elbow angle so that your hand moves.   From that starting position, if you decide you want to extend your hand forward, away from your body, your tricep shortens, and pulls the joint straight. \n \nExcept in special circumstances, we do not flex BOTH the tricep and the bicep at the same time.  We do one or the other. \n \nIn the larynx, we have two sets of muscles... \n  ...one 'inside and under' the vocal bands, which when shortened makes the vocal bands shorter/thicker/looser, and the pitch lower.  This is kinda like imagining that the bicep is a vocal band with a softer, flexible covering. \n \n  ...one outside the thyroid cartilege, which when shortened, makes the vocal bands longer/thinner/tighter, and the pitch higher.  This is kinda like imagining that the action of the  tricep is stretching the bicep. \n \nNow, to the difference in the comparison.   As mentioned, we ordinarily do not flex both the bicep and tricep at the same time, but we are able to do so easily if we want to.  If both are flexed, both are put under tension by the other, and thicken somewhat.  However, if there is too much fight between them, so that they are rigid, then the hand cannot be moved from the shoulder to extend like it did before... the muscles are too rigid to allow the full range of motion. \n \nThe WHY of falsetto training. \n \nFor many male singers, falsetto is trained because the muscle which controls it is not used to contracting through its full range of motion and is too weak to coordinate well with the other set of muscles... WHICH IT MUST DO In the full voice.   It would be like living your life with your bicep contracted some all the time, and never extending your arm straight.  However, to sing high, powerful notes, both muscles are involved in the whole range. \n \nExtending the metaphor a bit, singing falsetto is like letting your bicep relax, so that the tricep can stretch the arm out.   Not only does this get the tricep contracted to its maxium, but it also stretches the bicep, which is good for it... making it more supple. \n \nBack to the voice.  Falsetto training is, then, an exercise regimen for bringing the vocal-band-stretching action into play, without the resistance that comes from the other set of muscles.  It also helps the singer develop a gentler sense of breath pressure, because falsetto (to be made clearly) needs very much less exhalation force to work than does the full voice. \n \nOnce falsetto has been accomplished, its range can be extended upward as the singer learns to independently work the stretching muscle. (the 'tricep' of the voice, in our metaphor). \n \nComing back to the relevance of this to the full voice:   Training this muscle gives the singer a sense of range and vocal sensations without the 'bicep' muscle involved.  Some of these sensations remain when the singer re-adds the 'bicep' muscle in producing the full voice, in what are known as the 'blending of the registers' exercises. \n \nNot every teacher uses this approach, but many do.    I hope this was helpful. \n"
<https://www.themodernvocalistworld.com/topic/900-falsetto-training/>