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Comon. What truly creates a great singing voice?

There are all of these courses in existence who claim they will put an octave, or perhaps two octaves on your voice.

I don't care if a person can warble so high that only animals could hear you, that doesn't make a goodsinging legend.

If you really want to LEARN TO SING and carve out an excellentsinging voice, don't buy into the notion that singing high into the stratosphere is what makes you wonderful.

What makes you fantastic are carefully placed notes, vocal tone, spot on pitch, character, passion, "selling your song" vocally and so on.

It IS NOT just screaming high notes- in fact, if everyone went around crooning high all the time it would be shrill and forgetable.

Most singers get trapped these days in 2 big areas.

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

Let's ponder both for a minute.

First, singing high: Yes it's great to make an impression everybody with stratospheric notes but most of the time this can not be the most gorgeous part of the voice. In truth, it's probably the lower mid voice of a person's range that sounds best. Yes performing a high note adds the Shazam factor, but singing high should not be the only thing a person uses to judge a "terrific singing artist".

Think about it, most artists like Kelly Clarkson, Adam Lambert, Jennifer Hudson and so on often make you consider they are vocalizing high because they have carefully placed vowel sounds when truthfully these are not high notes to begin with. It may amaze you to know that all 3 performers just highlighted have about the same singing range which is in the contralto - also known as alto - high tenor area. When they sing a "high note" it's most likely around middle C or D even E but again these are not high notes at all in a soprano range. It's the proper placement of the vowel sounds with correct diaphragmatic support they exercise that makes them sound huge and robust.

The most critical elements are the nuances and the subtleties of your passion and your emotion in the lower register that makes that dramatic high note have a far superior impact.

OK now let's talk about "vocal runs".

Vocal runs were generally popularized by founding Motown artists like Michael Jackson, Gladys Knight, Rick James and the like. But in fact these artists had their education earlier on with artists like Billy Holiday and Ella Fitzgerald.

Around the early 1970's, Stevie Wonder had so popularized the idea of bluesy soulful "runs" that it seemed every artist "had to do it" to prove their singing talent.

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

However, most of these "runs" still stayed "out of the way" of the integrity of the main melody of a tune and were meant more for adding to or embellishing a melody rather than taking away from it (kind of like using a "big 50 cent word" in a dialog when one well placed "fifty cent word" will say more than 10 small words).

Over time a lot of the world of singing was so preoccupied with the "big words" of singing, that the main melody became twisted and even pasted over in the name of "vocal runs".

So if you are truthfully desiring to learn HOW TO SING, and you want to chase all the fun fancy stuff (and there is absolutely nothing wrong with the fancy stuff), a real singer, a good crooner, (not just performer), will not permit his or her ego of their voice to overwhelm the integrity of the melody and story and original intent of a melody.

Ken Tamplin is an International Voice Teacher who really did his homework to deliver very important information about training your singing voice to the people. For a Truthful and Dependable Voice Coach who Genuinely gets the job done, go to How To Sing . All of Ken's clientele experience extraordinary success!

How To Sing Great