Falsetto (Italian diminutive of falso, "false") is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.

It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both men and women, is also one of four main spoken vocal registers recognized by speech pathology.

The term falsetto is most often used in the context of singing to refer to a type of vocal phonation that enables the singer to sing notes beyond the vocal range of the normal or modal voice.^[1] The falsetto voice—with its characteristic breathy^[2][3] flute-like sound relatively free of overtones^[4][5]—is more limited than its modal counterpart in both dynamic variation and tone quality.^[6] However, William Vennard points out that while most people sound comparatively "breathy" or "hooty" when using falsetto production, there are in rarer cases individuals who have a much stronger falsetto sound production which has more "ring" to it.^[7]

Physiological process[link]

The modal voice, or modal register, and falsetto register differ primarily in the action of the vocal cords. Production of the normal voice involves vibration of the entire vocal cord, with the glottis opening first at the bottom and then at the top. Production of falsetto, on the other hand, vibrates only the ligamentous edges of the vocal folds while leaving each fold's body relatively relaxed.^[8] Transition from modal voice to falsetto occurs when each vocal cord's main body, or vocalis muscle, relaxes, enabling the cricothyroid muscles to stretch the vocal ligaments.^[6] William Vennard describes this process as follows:

With the vocalis muscles relaxed it is possible for the cricothyroids to place great longitudinal tension upon the vocal ligaments. The tension can be increased in order to raise the pitch even after the maximum length of the cords has been reached. This makes the vocal folds thin so that there is negligible vertical phase difference. The vocalis muscles fall to the sides of the larynx and the vibration take place almost entirely in the ligaments.^[9]

In the modal register, the vocal folds (when viewed with a stroboscope) are seen to contact with each other completely during each vibration, closing the gap between them fully, if just for a very short time. This closure cuts off the escaping air. When the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates an oval-shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement, a certain number of times a second, creates a pitched note.^[1]

Vocal fold, scheme

Glottal cycle, falsetto

In falsetto, however, the vocal folds are seen to be blown apart and in untrained falsetto singers a permanent oval orifice is left in the middle between the edges of the two folds through which a certain volume of air escapes continuously as long as the register is engaged (the singer is singing using the voice). In skilled countertenors, however, the mucous membrane of the vocal folds contact with each other completely during each vibration cycle. The arytenoid cartilages are held in firm apposition in this voice register also. The length or size of the oval orifice or separation between the folds can vary, but it is known to get bigger in size as the pressure of air pushed out is increased.^[1]

The folds are made up of elastic and fatty tissue. The folds are covered on the surface by laryngeal mucous membrane which is supported deeper down underneath by the innermost fibres of the thyroarytenoid muscle. In falsetto the extreme membranous edges, i.e. the edges furthest away from the middle of the gap between the folds, appear to be the only parts vibrating. The mass corresponding to the innermost part of the thyro-arytenoid muscle remains still and motionless.^[1]

Some singers feel a sense of muscular relief when they change from the modal register to the falsetto register.^[1]

Research has revealed that not all speakers and singers produce falsetto in exactly the same way. Some speakers and singers leave the cartilaginous portion of the glottis open (sometimes called 'mutational chink'), and only the front two-thirds of the vocal ligaments enter the vibration. The resulting sound, which is typical of many adolescents, may be pure and flutelike, but is usually soft and anemic in quality. In others, the full length of the glottis opens and closes in each cycle. In still others, a phenomenon known as damping appears, with the amount of glottal opening becoming less and less as the pitch rises, until only a tiny slit appears on the highest pitches. The mutational chink type of falsetto is considered inefficient and weak, but there is little information available about the relative strengths and weaknesses of the other two types.^[6]

Female falsetto[link]

Both women and men are physically capable of phonating in the falsetto register. Prior to research done by scientists in the 1950s and 1960s, it was widely believed that only men were able to produce falsetto. One possible explanation for this failure to recognize the female falsetto sooner is that when men phonate in the falsetto register there is a much more pronounced change in timbre and dynamic level between the modal and falsetto registers than there is in female voices. This is due in part to the difference in the length and mass of the vocal folds and to the difference in frequency ranges.^[10] However, motion picture and video studies of laryngeal action prove that women can and do produce falsetto, and electromyographic studies by several leading speech pathologists and vocal pedagogists provide further confirmation.^[9]

While scientific evidence has proven that women have a falsetto register, the issue of 'female falsetto' has been met with controversy among teachers of singing.^[6] This controversy does not exist within the sciences and arguments against the existence of female falsetto do not align with current physiological evidence. Some pioneers in vocal pedagogy, like Margaret Green and William Vennard, were quick to adopt current scientific research in the 1950s, and pursued capturing the biological process of female falsetto on film. They went further to incorporate their research into their pedagogical method of teaching female singers.^[10] Others refused to accept the idea, and opposition to the concept of female falsetto has continued among some teachers of singing long after scientific evidence had proven the existence of female falsetto.^[6] Celebrated opera singer and voice teacher Richard Miller pointed out in his 1997 publication, National Schools of Singing: English, French, German, and Italian, that while the German school of voice teachers had largely embraced the idea of a female falsetto into pedagogical practice, there is division within the French and English schools, and a complete rejection of the idea of female falsetto in the Italian school of singing.^[11] In his 2004 book, Solutions for Singers: Tools For Performers and Teachers, Miller said, "It is illogical to speak of a female falsetto, because the female is incapable of producing a timbre in the upper range that is radically different from its 'mezza voce' or 'voce piena in testa' qualities".^[12]

However, other writers of singing have warned about the dangers of failing to recognize that women have a falsetto register. McKinney, who expressed alarm that many books on the art of singing completely ignore or gloss over the issue of female falsetto or insist that women do not have falsetto, argues that many young female singers substitute falsetto for the upper portion of the modal voice.^[6] He believes that this failure to recognize the female falsetto voice has led to the misidentification of young contraltos and mezzo-sopranos as sopranos, as it is easier for these lower voice types to sing in the soprano tessitura using their falsetto register.^[6]

Musical history[link]

Use of falsetto voice in western music is very old. Its origins are difficult to trace because of ambiguities in terminology. Possibly when 13th century writers distinguished between chest, throat and head registers (pectoris, guttoris, capitis) they meant capitis to refer to what would be later called falsetto.^[1] By the 16th century the term falsetto was common in Italy. The physician, Giovanni Camillo Maffei, in his book Discorso della voce e del modo d'apparare di cantar di garganta in 1562, explained that when a bass singer sang in the soprano range, the voice was called "falsetto".^[1] In a book by GB Mancini, called Pensieri e riflessioni written in 1774, falsetto is equated with "voce di testa" (translated as 'head voice').^[1]

The falsetto register is used by male countertenors to sing in the alto and occasionally the soprano range, and was the standard before women sang in choirs. Falsetto is occasionally used by early music specialists today, and regularly in British cathedral choirs by men who sing the alto line.^[13]

There is a difference between the modern usage of the "head voice" term and its previous meaning in the renaissance as a type of falsetto, according to many singing professionals.^{[citation needed]} The falsetto can be coloured or changed to sound different. It can be given classical styling to sound as male classical countertenors make it sound, or be sung in more contemporary musical styles.^[14]

In opera, it is believed that the chest voice, middle voice and head voice occur in women.^[15] The head voice of a man is, according to David A. Clippinger most likely equivalent to the middle voice of a woman.^[16] This may mean the head voice of a woman is a man's falsetto equivalent. Although, in contemporary teaching, some teachers no longer talk of the middle voice, choosing to call it the head voice as with men. Falsetto is not generally counted by classical purists as a part of the vocal range of anyone except countertenors. There are exceptions, however, such as the Bariton-Martin which uses falsetto (see baritone article).^[17]

Falsetto has been used in Mexican songs for many generations. In Mexico, one of the greatest singers of falsete was Miguel Aceves Mejía, a singer and actor in the Golden Age of Mexican cinema, known as the "Rey de Falsete", or "Falsetto King". He sang over a thousand songs, such as "La Malagueña, El Jinete, La Noche y Tú, and La Del Rebozo Blanco", many of which utilized falsetto.^[18]

Many Hawaiian songs feature falsetto. In Hawaiian-style falsetto - called "ka leo ki'eki'e" - the singer, usually male, emphasizes the break between registers. Sometimes the singer exaggerates the break through repetition, as a yodel. As with other aspects of Hawaiian music, falsetto developed from a combination of sources, including pre-European Hawaiian chanting, early Christian hymn singing and the songs and yodeling of immigrant cowboys during the Kamehameha Reign in the 1800s when cowboys were brought from Mexico to teach Hawaiians how to care for cattle.^[19]

Falsetto is also common in African folk music, especially the South African style called Mbube, traditionally performed by an all-male a cappella chorus.^[20]

Use in singing[link]

Falsetto is more limited in dynamic variation and tone quality than the modal voice.^{[citation needed]} Falsetto does not connect to modal voice except at very low volumes, leading to vocal breaks when transitioning from modal voice.^{[citation needed]} Most trained singers have at least an octave of range that they can sing in either modal voice or falsetto.^{[citation needed]} In the absence of modern vocal training to hold back the volume of modal voice, in this overlapping area a given pitch in modal voice will be louder than the same pitch sung in falsetto.^[21] The type of vocal cord vibration that produces the falsetto voice precludes loud singing except in the highest tones of that register; it also limits the available tone colors because of the simplicity of its waveform.^{[citation needed]} Modal voice is capable of producing much more complex waveforms and infinite varieties of tone color.^{[citation needed]} Falsetto, however, does involve less physical effort by the singer than the modal voice and, when properly used, can make possible some desirable tonal effects.^[6]

The falsetto voice has a number of highly specialized uses within a musical context. The following list includes the most common ones:^[6]

• in rock music
• in male R&B
• by some lyric (Irish) tenors, folk singers, and so forth
• in Barbershop music for the Tenor voice (not always necessary) and occasionally with the Lead and Baritone voices in certain arrangements.
• in yodeling
• for comic effect in both operas and musicals
• by falsettists, sopranists, male altos or countertenors
• in a male choir, to enable the first tenor to maintain the very demanding tessitura.
• for pitches which are above the range of the modal register
• for pianissimo tones that would be difficult to execute in the modal register
• for vocal development

Use in speech[link]

The ability to speak within the falsetto register is possible for almost all men and women. The use of falsetto is considered uncommon in normal Western speech, and is most often employed within the context of humor.^[22] However, the use of falsetto speech varies by culture and its use has been studied in African Americans^[23] and gay men^[24] in certain contexts. Its use has also been noted in the U.S. South.^[25] Pitch changes ranging to falsetto are also characteristic of British English.^[26]

Some people who speak frequently or entirely in the falsetto register are identified by speech pathologists as suffering from a functional dysphonia.^[22] Falsetto also describes the momentary, but often repeated, fluctuations in pitch emitted by both sexes while undergoing voice change during adolescence. These changes, however, are more apparent and occur with greater frequency in boys than they do in girls.^[27] Failure to undergo proper voice-change is called puberphonia.

See also[link]

• Creaky voice
• Human voice

References[link]

Further reading[link]

• Appell, Thomas (1993). Can You Sing a HIGH C Without Straining?. VDP. ISBN 978-0-9632339-7-4. 

External links[link]

Wikibooks has a book on the topic of singing

Look up falsetto in Wiktionary, the free dictionary.

• Glossary definition of falsetto at Virginia Tech's Web site
• Story about the falsetto in rock music in The Boston Globe
• Video: vocal coach Kevin Richards explains the difference between falsetto and head voice

The-Dream
The-Dream performing on September 10, 2008 in New York City.
Background information
Birth name	Terius Youngdell Nash
Born	(1977-09-20) September 20, 1977 (age 34) Rockingham, North Carolina, U.S.
Genres	R&B, pop, hip hop
Occupations	singer-songwriter, record producer
Years active	1998–Present
Labels	Def Jam, Radio Killa
Associated acts	Christopher "Tricky" Stewart, Los Da Mystro, Jennifer Lopez, Electrik Red, Rihanna, Kanye West, Beyonce, Jay-Z, Drake Fabolous, Jamie Foxx
Website	the-dreammusic.com

Terius Youngdell Nash (Born September 20, 1977), better known by his stage name The-Dream, is an American singer-songwriter and record producer. He is known for co-writing chart topping hits such as "Baby" for Justin Bieber, "Umbrella" for Rihanna and "Single Ladies (Put a Ring on It)" for Beyoncé, as well as for his three solo albums, Love Hate, Love vs. Money, and Love King.

Early life[link]

Terius Nash was born in Rockingham, North Carolina and moved with his mother, Reva Nash, to Atlanta at the age of 3. He played trumpet, drums, and guitar as a child.^[1] His mother died in 1992 when Nash was fifteen years old, an event which would inspire him to write songs.^[2] He states that the death of his mother gave him a "soft spot" for women, which he credits to his desire to write songs about female empowerment such as Rihanna's "Umbrella".^[2] He moved in with his grandfather, a concrete mason who instilled a strong work ethic in young Nash. Of his grandfather, Nash recalls "He came out of a bad time for blacks in the South, but even though we lived in the hood, we had a boat, some cars and a house that was paid for. So I’ve always had a different outlook on life. There’s nothing I can’t do."^[3]

Music career[link]

Background[link]

Nash met R&B producer Laney Stewart in 2001; Stewart helped him get a publishing deal after writing "Everything" for B2K's album Pandemonium!.^[1] Under the pen name "The-Dream", Nash began writing lyrics for many popular artists. He spent two years working on Nivea's second album Complicated, which he executive produced, and continued to write and produce with Christopher "Tricky" Stewart, Laney's brother, which led to Rihanna's 2007 smash hit "Umbrella". The success of "Umbrella" boosted Dream's music career, and in 2007, he signed a deal with Def Jam Records.^[4]

Solo[link]

Following the deal with Def Jam Records, The-Dream began working on his debut studio album Love Hate.^[4] The album was produced by The-Dream's production partner Tricky Stewart, and Carlos "LOS Da Maestro" McKinney, and featured Fabolous and Rihanna.^[5] The album was written and recorded in eight days with twelve tracks making the final cut. Some of the tracks were written in regards to The-Dream's personal life, most notably "Nikki," written about his ex-wife Nivea and how he has moved on since their divorce.^[6] The-Dream explained the title, Love Hate, as short for, "Love me all summer, hate me all winter, because they love you when you hot and when you're cold they don't... I'm hot right now and they love me, but I was cold and they wasn't fuckin' with me."^[6] Released December 11, 2007 on The-Dream's Def Jam-imprint Radio Killa Records,^[7] Love Hate moved 59,000 copies and debuted at number 30 on the Billboard 200.^[8] Love Hate also peaked at #5 on the Billboard Top R&B/Hip-Hop Albums chart.^[9] The album received generally positive reviews from critics, as Rolling Stone called it "one of the most likable R&B records of the year" and UrbanMusicReviews.com said that the singer has "hit a home run."^[10]

On March 10, 2009 The-Dream released his second album Love vs. Money.^[11] He re-teamed with his production partner Christopher "Tricky" Stewart, who produced most of the tracks on the album, and Los Da Maestro.^[12] He also enlisted the help of Lil Jon for the song "Let Me See the Booty".^[8] Love vs. Money debuted at number two on the Billboard 200, selling 151,000 copies in its first week.^[13] It also entered at number one on Billboard's Top R&B/Hip-Hop Albums and at number three on its Top Digital Albums chart in March 2009.^[14][15] Upon its release, the album received general acclaim from most music critics, based on an aggregate score of 83/100 from Metacritic.^[16]

During the making of Love King, he recorded a song with T-Pain and expressed that he would like to make a collaborative album with Kanye West in the future.^[17] In January 2010, The-Dream officially stated he was finished recording the album and he called it the best of his three albums.^[18] The first single, "Love King", was released on March 16, 2010 for digital download. The album was released on June 29, 2010.^[19]

Before the album's release, the-Dream announced that Love King will be his last solo album.^[8][20] When Love King was released, the lyrics to the song "Sex Intelligent Remix" announced plans to release a new solo album called Love Affair and even gave the specific release date of June 7, 2011. In February 2011, The-Dream announced that the album is not titled "Love Affair" anymore, he stated that it is now titled "The Love, IV" and that he scrapped the June 7, 2011 release date and has set a new release date of August 2011.^[21] One week after anouncing that August release date, he said the he is pushing the album up and is hoping to release it on June 7 as promised.^[22] In June 2011, the album's title was changed yet again, this time to "Love IV: Diary of a Madman", it was also announced that it will released on September 20, 2011.^[23] On June 7, 2011; he released double promotional singles titled "Body Work" and "Fuck My Brains Out" to the internet.^[24] The Dream was not able to release "The Love, IV (Diary of a Mad Man)" on September 20, 2011 as planned and it was announced that the album got pushed back indefinitely due to "contract talks" with Def Jam Records.^[25] The-Dream then released a free 10-track album to the internet entitled 1977 on August 31, 2011.^[26][27] The-Dream also plans to release a 13-track studio album entitled Nikki: The Chronicles, which will follow his infatuation with the woman he sang about on 2007’s Love Hate and 2010’s Love King.^[28] In October 2011, Dream announced that he is personally pushing back the release of The Love; IV (Diary of A Madman) and that it will now be released in 2012. Dream also announced his plans to release his first international album, titled 1984: Persona of Love, it is set for release sometime in 2012, the album is a "persona album" and is inspired by his recent trip overseas.^[29] In February 2012, it was announced that the "The Love; IV (Diary of A Madman)" will be released on April 17, 2012.^[30] In March 2012, it was announced that "The Love; IV (Diary of A Madman)" has been re-titled "Love IV MMXII" and that its release date been pushed back to Summer 2012.^[31] In May 2012, it was announced that the album will be released on August 14, 2012.^[32]

Production[link]

In addition to working with Nivea and Rihanna, The-Dream also began writing for numerous artists, most notably J. Holiday's "Bed", Usher's "Moving Mountains", Yung Joc's "Coffee Shop" and Jesse McCartney's "Leavin'". He also co-wrote Mariah Carey's "Touch My Body", Ciara's "High Price," and took part in co-writing a majority of Mary J. Blige's 2007 Growing Pains album, including the smash hit "Just Fine". Recently^[when?] he featured in Drake (entertainer)'s album Thank Me Later the song "Shut It Down".

In December 2007, The-Dream was nominated for Grammy Award for Song of the Year for "Umbrella", but lost to Amy Winehouse's "Rehab". However, in June 2008, The-Dream won the award for Best New Artist at the 2008 BET Awards. Throughout 2008, The-Dream appeared on a number of records including Plies' "Please Excuse My Hands" with Jamie Foxx, LL Cool J's "Baby", Gym Class Heroes' "Cookie Jar" and Kardinal Offishall's "Gimme Some". In addition, The-Dream signed female R&B girl-group Electrik Red to Radio Killa Records and they released their debut album, How to Be a Lady: Volume 1, under the label.^[33] The-Dream and production partner Christopher "Tricky" Stewart produced "Single Ladies (Put a Ring on It)" off Beyoncé's album I Am… Sasha Fierce, co-produced two tracks ("Just Like Me" & "Digital Girl") and was featured on Jamie Foxx's album Intuition, and worked with Mario and Lionel Richie.^[8] He will also be featured on a number of upcoming albums from; Phyzikal, Ciara, Sterling Simms, Young Chris, Dear Jayne, Brandy and Cassie.

In early 2009, The-Dream began working with Christina Milian on her fourth studio album Elope,^[34] which led to her signing a joint-deal with Radio Killa Records.^[35] The-Dream said that when he was building his label, he went looking for Milian because he believed she was a talented singer.^[36] The singer confirmed that her second single would be a duet with The-Dream called "Supersonic".^[37]

Throughout 2009, The-Dream has also been working on new material for Mariah Carey, Brandy, and Diddy. Diddy's song "Change" is described by The-Dream as, "probably one of the best male records I've ever written...the best record I've written besides 'Umbrella'. The-Dream also worked on Jennifer Lopez's single Louboutins from her 7th album Love? by Sony Music. The song did not chart at the Billboard Hot 100 but charted at number 1 on the Hot/Dance Club Chart. He keep working on more tracks for her album which was released in Spring 2011 by Def Jam.^{[dated info][8][dated info]} He also collaborated on, produced and wrote Snoop Dogg's "Gangsta Luv", which is on the 2009 album Malice n Wonderland.

The-Dream and Tricky Stewart have worked on Ciara's fourth studio album titled "Basic Instinct", which was released on December 14, 2010, and was executive produced by the trio. He co-wrote her lead single titled "Ride", which was released in April 2010, and went on to become a R&B smash hit and her twelfth top ten hit on the Billboard R&B/Hip-Hop Songs chart.^[38]

The-Dream received a fair amount of backlash for his cover of singer Aaliyah's song "One in a Million". Upon the release of the song, fans of Aaliyah bombarded radio shows and blog sites with distaste for The-Dream's rendition.^[39]

He also worked alongside Tricky Stewart on Jessica Simpson's Christmas album titled Happy Christmas, released on November 22, 2010, and also working on Simpson's upcoming pop album, to be released in 2011.^{[dated info]}

The-Dream produced a music single for Kim Kardashian, "Jam (Turn It Up)", released in March 2, 2011 and then worked on Beyoncé's album titled 4, released on June 28, 2011.

On March 16, 2012, Billboard posted an interview with The-Dream, where he talked about having been given the opportunity to go in to the studio in a few weeks to work with Shakira, and how excited he is for the track.^[40]

Personal life[link]

The-Dream married girlfriend Nivea in 2004, whom he had been dating for one year. Together they had three children, daughter Navy Talia (on May 10, 2005); and twin sons London and Christian (April 2006). They had been married for three years when Nivea filed for legal separation in December 2007. The-Dream said that although he was in love with Nivea, his lack of experience in a family growing up meant he was "not taught how much more than love does it take to run a relationship. Like, 'cause love isn't just where it's gonna end. It can't start and stop with love. There has to be a certain amount of knowledge and patience that's acquired in order to keep it going and keep it straight, and I found out the hard way".^[41]

The-Dream began dating Christina Milian in early 2009; she became pregnant. The Daily Mail reported that "the pregnancy was a surprise, but they were getting married regardless".^[42] They then became engaged in June 2009.^[43] In August, it was reported that they had applied for a marriage license in Los Angeles. On September 4, 2009, The-Dream married Christina Milian at the Little White Chapel in Las Vegas.^[44] The-Dream said in an interview that Nivea was still a good friend of his, and that she was also friends with Milian.^[45] Milian gave birth to their daughter Violet Madison Nash on February 26, 2010.^[46] Milian and The-Dream announced their separation on July 12, 2010 ^[47] after photos surfaced of The-Dream vacationing with his assistant.^[48]

In addition to music, The-Dream revealed he is currently working on a TV reality series for MTV where he will scout aspiring singers,^[8] and plans to release a clothing line called Millionaire Love Affair.^[33]

Discography[link]

Studio albums

• Love Hate (2007)
• Love vs. Money (2009)
• Love King (2010)
• Love IV MMXII (2012)

Free album

• 1977 (2011)

Awards and nominations[link]

References[link]

External links[link]

• Official website

Edwin Laureano Rosa Vazquez (October 15, 1981), known mononymously as Ñengo Flow is a Puerto Rican reggaetón and hip hop singer and composer. He was born in Rio Piedras, Puerto Rico and grew up in Bayamón, Puerto Rico where he would get his start in the music business. It was there that from a young age he would develop interest in the world of urban music. His lyric content came from personal experiences in his neighborhood with other children and classmates. It is not until age 14 when Edwin Rosa was first presented on stage in the neighborhood where he lived in a community movement. There he discovered his mission and dream in life to be an advocate of life in the neighborhood and the streets in his town vent to his experiences in his lyrics.^[1]

Singing career[link]

After a few years the name “Ñengo Flow,” became known, baptizing the name as a subject of his community. His beginnings as an artist started by releasing a mixtape with colleagues and friends. It came to be heard on Univision. This allowed him to easily release his first studio album Flow Callejero in 2005. He would continue to release mixtapes including El Combo Que No Se Deja in 2008 and La Verdadera Calle in 2009. He would also appear on various reggaetón and hip hop compilation albums including Los Anormales (2004), Sangre Nueva (2005), DJ Joe - Abusando del Género (2006). In 2011, he launched his highly acclaimed mixtape Real G4 Life and in 2012 Real G4 Life 2 as well as a Real G4 Life 2.5. Real G4 Life 2 peaked at number 75 on the Billboard Top Latin Albums chart while the 2.5 edition peaked at number 61 on the same chart.^[2] Also in 2012, he would appear on various artists' album including Ivy Queen's Musa while also providing uncredited vocals to the song "La Killer".^[3][4]

Discography[link]

Studio albums[link]

• 2005: Flow Callejero

Mixtapes[link]

• 2008: El Combo Que No Se Deja
• 2011: Real G4 Life
• 2012: Real G4 Life 2
• 2012: Real G4 Life 2.5

See also[link]

	Puerto Rico portal
	Latin American music portal
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• List of famous Puerto Ricans

References[link]