Pitch isn’t really the most gendered factor in voices. Here are the fundamental frequencies for male and female voices:
Male: 85Hz (roughly F2) to 180Hz (roughly F#3)
Female: 165Hz (roughly E3) to 255Hz (roughly C4).
You’ll notice that there’s some overlap between the genders. Not to mention, the mean for male voices is 132.5Hz (roughly C3) vs. 210 (roughly G#3) for females, which is just over half an octave (so you only have to raise your pitch a little).
Pitch isn’t really as big a deal as most people think. Most of what people perceive as masculine or feminine in the voice comes from resonance, which we’ll discuss later.
Relax your lips and blow air between them. Hum when you do this. Like you’re a motorboat or something. Now let your voice glide up as high as it’ll go and then go back down, like a siren. Keep doing this up and down, gradually increasing pitch as you go.
You should find that you’re able to hit higher notes while humming than when you’re singing or speaking. This is for a few reasons. Your muscles are more relaxed when humming so notes are easier to reach. Also, since your mouth is closed, more of your air escapes through your nose than normal (if you place your hand on your nose, you should feel it vibrating more when humming than when trying to sing those same pitches) so you get more nasal resonance, which emphasizes the higher notes in your harmonic series.
We’ll discuss more about the harmonic series later. Technically this dips more into resonance than pitch, but lip trills help with range too so it kind of overlaps.
Alright, so whenever you lock into a high note your comfortable with in your trills, hold that note and slowly open your mouth to voice the note. You’ll find that that note becomes easier to voice in your regular speaking or singing voice. Then do the siren exercise descending notes from that note, and back up again.
The falsetto range is that range just above your modal register. The modal register being the register you use regularly for speaking and singing. We don’t actually want to speak in falsetto normally. That would be silly. But we can strengthen the falsetto and bring notes from it into our modal range.
Talk like Minnie Mouse. You don’t have to go too high with it, just somewhere higher than you would normally be comfortable speaking. Now gradually lower your pitch. You should eventually feel a break in your voice, where your voice just cracks and stops working. That’s good. You’ve found the bottom of your falsetto voice.
Now start in your modal voice. Pick a fairly low note you’re comfortable with. And gradually increase your pitch until you hit that same break. Cool, you’ve just found your modal ceiling.
So now that we’ve found our falsetto floor and our modal ceiling, let’s go back up to the falsetto (again, not too high) and gradually lower your pitch until you hit that falsetto floor again. Then go back to your modal voice and gradually increase pitch until you hit that modal ceiling again.
Keep doing this back and forth. This will accomplish a few things. It will gradually lower your falsetto floor and raise your modal ceiling until eventually you’re able to switch between the two registers seamlessly with no breaks. That just sort of gives you more wiggle room and will allow you to start strengthening the lower notes of the falsetto range, since we’ve blurred the lines between them.
Also, because falsetto is technically head voice (we’ll discuss this more in the resonance chapter, but basically you’re speaking from your head instead of from your chest), bringing the falsetto down into your modal voice is a good way to bring the bright qualities of the falsetto into your modal register. Then when we go from modal to falsetto, we’re bringing some of those dark, warm qualities of chest resonance into our falsetto, which can in turn strengthen the falsetto.