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I really need to ask. What really creates a legendary singing voice?

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

I could care less if a person can warble so high that only dogs could notice you, that will not make an excellentsinging artist.

If you really want to LEARN TO SING and work on a greatsinging voice, don't believe the idea that vocalizing high is what makes you wonderful.

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

It IS NOT just screaming high notes- think about it, if every singer went around performing high on every song it would be harsh and boring.

A lot of performers get caught up nowadays in two big areas.

Singing incredibly high, and displaying their most difficult "vocal run".

Let's talk about each one for a minute.

Let's look at, singing high: Sure it's neat to blow away everybody with ridiculously high notes but most of the time this can not be the most beautiful part of the voice. Truthfully, it's usually the lower mid voice of a vocalist's range that sounds best. Yes singing a high note adds the Shazam factor, but this should not be the only thing anyone uses to judge a "fantastic singing artist".

Think about it, most singers like Christina Aguilara, Lou Graham, Jennifer Hudson and so on often make you consider they are vocalizing high because they have properly placed vowel sounds when rightly these are not high notes to begin with. It may shock you to know that all these performers just mentioned have about the same singing range which is in the contralto - also known as alto - high tenor area. When these people hit a "high note" it's most likely around middle C or D even E but these are not high notes at all in a soprano range. It's the placement of the vowel sounds with good diaphragmatic support they use that helps them sound awesome and robust.

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

In conclusion, let's discuss "vocal runs".

Vocal runs were generally sold by founding Motown artists like Michael Jackson, Aretha Franklin, Rick James and the like. But in reality these singers had their education earlier on with artists like Billy Holiday and Ella Fitzgerald.

Around the early 1970's, Stevie Wonder had so popularized the art of bluesy soulful "runs" that it seemed all singers "had to do it" to prove their vocal skills.

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

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

Eventually much of the world of singing was so focused on the "big words" of singing, that the main melody became fractured and even pasted over in the name of "vocal runs".

So if you are genuinely desiring to learn HOW TO SING, and you want to pursue all the exciting fancy stuff (and there is absolutely nothing wrong with the fancy stuff), a real artist, a great vocalist, (not just performer), will not allow their ego of their vocal ability to overwhelm the truth of the melody and story and honest intent of a song.

Ken Tamplin is an International Singing Coach who really did his homework to bring valuable news about training your singing voice to the people. For an Authentic and High-principled Singing Lesson Coach who Honestly gets the job done, go to How To Sing Great . All of Ken's clientele experience extraordinary results!

How To Sing