What Proves a Phenomonal Singing Voice? A Master Vocal Instructor Breaks Down How To Sing Better and Taking Singing Lessons

Comon. What predominantly makes a legendary singing voice?

There are all of these programs that exist who perport they will put an octave, or perhaps two octaves on your voice.

I don't care if anyone can vocalize so high that only Martians could notice you, that can not make an excellentsinging legend.

If you sincerely desire to LEARN TO SING and develop a greatvoice, don't believe the fable that singing high into the stratosphere is what makes you great.

What makes you great are carefully placed notes, beautiful vocal tone, spot on pitch, distinct character, passion, "selling your song" vocally and the list goes on and on.

It NEVER is just achieving high notes- in fact, if every singer went around crooning high all the time it would be harsh and annoying.

Many vocalists get trapped today in 2 big areas.

Singing high, and delivering their most difficult "vocal run".

Let's ponder each for a moment.

First of all, singing high: Sure it's great to blow away everyone with stratospheric notes but most of the time this can not be the most flattering part of the voice. In fact, it's probably the lower mid voice of a vocalist's range that sounds best. Yes belting a high note adds the "X" factor, but this should not be the single thing we use to conclude a "good singing performer".

Consider this, most singers like Christina Aguilara, Brian McKnight, Jennifer Hudson and so on often make you consider they are singing high because they have carefully placed vowel sounds when rightly these are not high notes at all. It may surprise you to understand that all these performers just highlighted have about the same singing range which is in the contralto - also known as alto - high tenor area. When these artists blast a "high note" it's usually around middle C or D even E but again these are not high notes at all in a soprano range. It's the placement of the vowel sounds with proper diaphragmatic support they exercise that makes them sound awesome and full.

The most important components are the nuances and the subtleties of your passion and emotion in the lower register that makes that climactic high note have a far greater impact.

Finally, let's talk about "vocal runs".

Vocal runs were identifiably sold by founding Motown artists like Stevie Wonder, Gladys Knight, Etta James and others. But truthfully these artists had influences earlier on with artists like Billy Holiday and Ella Fitzgerald.

Around the beginning of the 1970's, Stevie Wonder had so popularized the idea of bluesy soulful "runs" that it seemed everyone "had to do it" to validate their performing talent.

Over time, everybody from the white British invasion bands to American rock groups all had to weigh in on adding these runs to their catalog of singing vernacular.

In truth, most of these "runs" still stayed "out of the way" of the honesty of the main melody of a song and were meant more for adding to or embellishing a melody rather than hiding from it (kind of like throwing out a "big fifty cent word" in a dialog when one well placed "big word" will say more than ten tiny or small words).

But soon a lot of the world of singing was so focused on the "big words" of singing, that the actual melody became fractured and even lost in the name of "vocal runs".

So if you are really desiring to learn HOW TO SING, and you desire to go after all the exciting fancy stuff (and there is not a thing wrong with the fancy stuff), a real artist, a good crooner, (not just performer), will not let his or her ego of their voice to overwhelm the integrity of the melody and story and honest intent of a song.