Big Lie #1 - People start out singing all wrong, so they must be taught (or re-taught) EVERYTHING, in order to sing "properly."

Truth - You MAY be doing SOME things wrong, but if you can speak, you are NOT doing everything wrong.  When you speak, you are using the very same tools you need to sing--no more, no less.

Most singers' difficulties come from getting away from their natural speaking technique when they sing.

If you are less than satisfied with your singing, then it is very likely you're doing something less effectively than it can be done.  But stop and think a moment.  HOW do you get rid of the difficulty?

There are several possibilities: 
1)  You are just no good at singing (many people suspect this about themselves, but it's totally untrue as you will learn); 
2)  You are not trying hard enough (many people assume this too, but you will find out that trying "harder" only ADDS to your difficulty); 
3)  Singing is a special skill that you have no useful knowledge about, so you must be prepared to spend lots of time and money learning this totally foreign skill.

All these possibilities are common thoughts, but all wrong. 

Here's the possibility that you must accept to make satisfactory progress improving your singing:

4) You have been using your "singing tools" all your life, but you may have been "holding them wrong" while singing. It will be as easy as speaking, once you have someone show you how to simply hold the "tools" correctly.

You use the same exact body parts and capabilities to sing as you do when you speak! The problem often comes in when someone tries to tell us how to sing and they get us twisted up so that we STOP singing like we speak.

It's like you've been using a hammer to flatten bottle caps all your life. Then one day you need to drive some nails. You have doubts about trying it. Then someone walks up and sees you trying to drive nails. He tells you "That's really noisy. Here, hold it like this" and he turns it around so that you're striking the nails with the handle instead of the hammer's head.

It doesn\'t make so much noise now, so you think he may be right. You keep trying but you make very little progress.

Then a carpenter comes along and says "hey, buddy, you've got to hold it by the handle if you want to drive the nail." You turn it back around and discover that you can drive nails pretty fast now.

That's what singing should be like. When you learn how the voice was designed to work (and you will learn a lot about it, over these next 9 pages), you should make amazing progress and singing should get much easier at the same time.

Big Lie #2 - If you can sing classical style, you can sing anything.

Truth - If you can sing classical, you may still have LOTS of trouble making a "natural" sounding tone.

In fact, most of the classically-trained singers that come to see me, come with great difficulties.  They come with dissatisfaction and grief AFTER spending a fortune on a classical music degree!  I am still amazed at how similar their stories are.

They start out with a simple love for music.  Then they get into choir at church or school.  They are told that they have great talent and they should not waste it.  They are told, "You need to go to college and...

"Major in music...probably vocal performance."  This seems like a great idea, because they don't know a lot *about* singing--they just love to sing.  So away they go and enroll.

They are told at university "you have some talent, but you must be re-taught EVERYTHING!"  They find out that they have not been singing "properly" at all!  They may at first protest that they just want to be a good singer, not go on to the opera stage.

The faculty members adjust their glasses further down their noses and say "If you can sing classical, you can sing anything."

But the singer finds out AFTER 4 or 5 years of grueling study that they have been re-made into a kind of singer that they don't even like!

OR, they learn to love classical singing, but find out that the classical field is so tiny that their chances of making a living at it are more slight than winning the state lottery!  They are left with their voices to fend for themselves in a world in which they do not fit.

Most frustrating is that their range has usually stayed within a few notes of where it was before they studied...about 2 octaves or less.  The males sing up to a point and hit their "break," a frustration which normally persists throughout their study.

The females, after years of study, have nothing but the mushy "head" tone with which to express themselves.

The tragedy--They don't sound honest enough for most audiences.  So what do they do?  They quit singing and start teaching!  And what do they teach their students?  It normally starts out something like "if you can sing classical, you can..."

I LOVE classical singing, by the way.  It's just that most singers do not desire to be classical singers.  It just happens to be the most common type of teaching.  It is entrenched in most every University curriculum and it's a BIG money-maker for the colleges.

So I've come up with a new thing to say to students:  "If you can get your voice to shift between registers easily, building that "bridge," you can sing classical and anything else you like."

Is this really true?

Well, let me put it this way.  Luciano Pavarotti is perhaps the most famous classical singer in the world. He gained the nickname "King of the High C's" because he can sing beautifully up to the C above middle C (referred to as the "male high C").

Most of my students, using very simple exercises, easily go to D, E, F ABOVE high C within 3 or 4 lessons!  It's not because I'm a genius.  It's because I learned from my "Yoda" mentor a few exercises (and invented a couple more) that "trick" their voice into shifting gears at the right moment up the scale.

That reminds me...if you haven't watched the Free Video Lesson yet, visit our new site at:  http://www.singingsuccess.com/
and go to the "Free Stuff" tab.

By the way, next time I'll tell you about a lie that could cost you YEARS.  Don't miss it.

Big Lie #3 - It takes years of instruction and practice to develop a respectable vocal range of almost 2 octaves (that covers only 24 notes on a piano keyboard).

Truth - The human voice was designed to cover well over 3 octaves COMFORTABLY, just by "shifting gears."  It can be learned in less than 2 hours--and mastered and improved for the rest of your life.

Do you remember the line from the movie about the Watergate scandal of the 70's?  It was "follow the money."

What it meant was, if you find a white-collar crime, and want to know who's behind it, see where the money flows.

Well, that's in order here.  If you have a bunch of people who are paying your school $20,000-$40,000 per year to learn singing, you better convince them that they need you!  You may want to tell them that they need you so much that it will be YEARS before they are ready to leave your care.

I have become convinced that most university systems of teaching voice have become just such an arrangement.

Now, if I were getting University-trained singers in my studio all the time and they were satisfied with their voices (coming to me because they only needed a little "maintenance") and had all the range they wanted, I'd feel totally differently.  (I do get one every now and then who had an exceptional teacher, using methods other than pure classical, but it's too rare!)

Let's face it. If you spend $20,000 a year on an education that truly equips you for the life you want, you've found a bargain.  But that's not what's happening in most cases.

So they come in, tell me their story, and we start to work.  As I've said, their stories are mostly tragic.  It's some version of "I spent all this money, now I can't get my voice to do what I want."

Then there's normally a further complication:  They are usually already teaching their own students--the methods they learned--but they are plagued with their own vocal troubles and a bunch of mixed feelings.

So I get them to do a series of exercises and *bam* they pop up past their break and add sometimes an octave + of range in just a couple lessons.  If you could be a fly on the wall, you'd see the same thing happen over and over.  It's like a healing service at a tent revival.

MANY of them burst into tears, out of control of their emotions, because they never dreamed they'd do what they've just done.

The next thing that usually happens is a little bit of a panic.  They have studied for so many years and in 1 or 2 lessons they've gone to totally new territory and they think "I don't know how I got to this beautiful spot in my voice?"(the exercises work automatically, so you don't have to necessarily know what you're doing), and  "How can I find my way back here tomorrow?"

I reassure them that the exercises did it and that if they just do them regularly, they will find their way back and BEYOND!

It usually takes less than 2 hours to get past your break and that gives you a lifetime of VERY satisfying performance while you study to improve and perfect your natural tone.

After they mention the sense of wasted time and money a couple times, I ask if their university offered a money-back guarantee.

"Follow the money."

Next time, we'll talk about the #1 mis-understanding about singing: The big lie about breathing!

Big Lie #4 - You will need special instruction to learn how to breathe correctly for singing.

Truth - You were born breathing correctly.  You've continued to breathe.  You breathe in, and speak on a regular basis.  YOU KNOW HOW TO BREATHE ALREADY!

If you feel you are breathing ineffectively for singing, find a baby and watch them breathe.  They are doing it just like it needs to be done for singing.

In fact, I can tell you how to check yourself, right now.  Find a comfy spot on the carpet and lie down with your back against the floor.  Now, just breathe normally in a relaxed manner.  Feel your stomach with your hand as you breathe.

Do you feel how your abdomen rises and falls with each breath?  That's what it is designed to do.

Now, do some singers breathe poorly for singing?  Yes!  But it's not because they've missed out on any special instructions.  It's because they are trying some strange thing or maybe they are getting nervous and trying TOO HARD.  Or, they are thinking more about breathing than about singing!

If you can get your mind off of breathing and get back to singing, you will find that your breath will regulate itself.

The only thing I say is this:  If you notice that you are holding your stomach in while breathing, just let it hang out.  If your chest is rising when you breath in, then you're holding your stomach in (probably for appearance sake).

So stop doing that and you've got your breathing back to "baby normal."

That's all you really need to know about breathing.

Much of classical training in the area of breathing is built on the strange assumption that your breath should regulate your tone production.  But everything in our experience tells us that we allow our tone production to regulate our breath!

If that paragraph is confusing, it's not worth laboring over.

Just remember that if you are making your vocal cords come together and produce a pleasing tone, your lungs and "diaphragm" will deliver just the right amount of air!  Work on the tone, the breath will take care of itself.

Next time, I'll talk about the big lie that is commonly voiced about "falsetto".  (That's the mushy tone people flip into when they reach their break.)

Big Lie #5 - You must develop a strong "falsetto" to sing very high notes.

Truth - Your voice will make several coordinations, none of which require a great degree of effort.  There is the "chest" voice, the "head" voice, and falsetto (sometimes confused with the head voice).  My technique would also add what we call the "mix" voice, which is a mixture of chest and head voices.


First, let's identify these voices.


Put your hand on your chest and say "AAAAh" in your regular speaking voice.  Do you feel the vibration of your chest against your hand?

This is called "chest voice" and it's what you naturally use when singing lower notes.  We call it the chest voice because much of the resonation takes place in the chest cavity in your lower range.

I guess I better explain "resonation."

It's pretty easy.  Imagine the sound made by slapping your hand against a boulder the size of a washing machine. The impact is like one vibration of your vocal cords.  Your hand against the boulder would make a tiny sound (more like a "snap" than anything).

Now imagine slapping the side of a real washing machine.

What sound comes from that?  A big, giant BOOM!  Why?  "Because it's hollow," I hear you say.  But WHY should that make a difference?

It's because the hollow space in the washing machine serves to amplify the sound by "resonating" or vibrating, moving a larger volume of air than the slap itself would have moved.

Your vocal cords are only about half an inch long!  They're stretched across a little pipe the same diameter (half inch).  If they were vibrating out in open air, you'd have to put your ear right next to them to hear them at all.

But they are part of a system that includes several resonating cavities.  The biggest is the chest.  It's got the "boom" of the lower notes and it can sound "explosive."

The cords make the air vibrate, and the chest amplifies that vibration.


Next voice--the "head" voice.


Why do they call it the head voice?  I hear you saying "I bet it's because it resonates in the head."  Yep. You're right.

But we think of the head as a solid block most of the time, expect maybe for the mouth.  The truth is, there are hidden pockets of air in your head!  You see those 2 little nostrils and you think they are just pipes to the lungs.  But they lead to the "nasal cavity" behind your nose and your cheek bones.  Then there are also sinuses.

Still another resonator is in the back of the throat, just above your vocal cords.

When your vocal cords "get thinner" like they are supposed to do, they throw the tone more upward and forward into these resonators in your head.


Let's find that head voice tone right now.


Put your hand on top of your head.  Now make the very happy sound: (very high) "Weeeeeee" like you're on a swing at the park.  Did you feel your skull vibrate under your hand?

Now if you put one hand on your chest and the other on your head and alternate, "AAAAH" down low, and "weeeeee" up high, you'll feel the difference in resonators.


Now for falsetto.


This is not really a "voice."  It's more of a defense mechanism to keep you from straining your vocal cords when you try to go too high in "chest" voice and don't know how to shift gears.  If you sing a very high, light, airy tone, you won't feel much resonation anywhere.

This is because the cords are not really even coming together.  Instead they are coming *near* to one another, then vibrating free of one another.  The airy sound is from all the air that escapes through the cords in this position.

In singing, you can use this as a sound effect sometimes (to communicate soft emotions).  But you don't want to be limited to it.

The chief difference between "head" voice and falsetto is that in head voice, your vocal cords are actually coming together and closing off some of their vibrating length.  The tiny space left to vibrate is what is used to make the tone.

When done right, it sounds clear and clean, and it's easier and takes less breath than either chest voice or falsetto!

The fun (and the power) comes when you learn to mix the chest and head voices so that they "fade" into one another, creating one long block of usable range!  It all sounds like just "your voice."

Next time, I'll tell you about the most debilitating lie that a singer can ever believe.

Big Lie #6 - Either you have talent, and thus CAN sing, or you don't have talent, and can NOT sing.

Truth - Since almost everyone can speak, and the speaking mechanism is the same as the singing mechanism, almost everyone can sing--and should, if they desire to!

This is a "non-technical" lie, but it has affected so many people that you wouldn't believe it.

I meet singers all the time who have spent the better part of their lives *wanting* to sing, but believing this big lie.

Let's go ahead and admit that NOT all people possess the same degree of singing talent. But the lie doesn't stop there.  In effect, this lie says "Give it up!  You shouldn't sing because you're not...(fill in the name of any famous singer)."

My job brings me a unique perspective.  You see, many *already famous* singers still feel inadequate and are singing despite those feelings!

One friend of mine, also a student, after being on a national label and having hits on the radio, confided "I always felt like a fake...like any minute, they'd realize I had no real talent."

So if you have the dream to sing (or play an instrument), and have a little time to give to it, you can become quite good at it. I personally know several who have gone so far as to make an income from it--in their later life!

If you do the right exercises, you can get your voice into shape far more quickly than you think.  There a couple of pitfalls that must be addressed though:

Pitfall #1:  You think you're too old.

This is so far from true and yet so commonly believed.  Just think of the singers you like to listen to.  Are any of them near your age?  Most people say "Yeah. How'd you know?"  Because everybody says that.  You're about the age of many of your favorites.

Pitfall #2:  You packed away your dreams and you haven't taken them out lately.

Well, it's time.  Think of all you've accomplished that you DIDN'T like!  Don't you think you could accomplish something that you DO like?  If you long to sing, you can be taught to find your voice and let it go do it's thing.

Pitfall #3:  You're intimidated by other singers you know.

My answer to this is that you have no idea how wonderful it is on the other side of that wall of fear until you push through it.  The only question is how much fun you allow yourself to have in the process.  Get yourself some "secret weapon" instruction and watch people's reaction when your voice cuts loose!

Big Lie #7 - It takes great effort and the coordination of many muscles to sing correctly.


Truth - If you are having difficulties right now, chances are, you actually have TOO MANY muscles trying to help!  Singing "as designed" is easier than doing it wrong, and gives you more satisfying results.

A large part of the "difficulty" most people experience in their singing starts inside their own brains.

Don't get me wrong.  It's not ALL in their brains, but it usually starts there.  They trick themselves out.  It usually happens like this:

A singer gets hold of a song they like and it has one of those high notes that sounds very impressive on the radio.  It's part of why they got the song to try to sing.  They put it on and start to sing along and as they approach the big moment, they realize that they are approaching the end of their range!

What do they do then?  They make a choice.

Possibility #1:  They "go for it," pulling up their chest voice and just blasting through it.  Of course if it's too far above their break point, they either make it and feel pain, or they don't make it and falsetto kicks in (usually embarrassing them).

Possibility #2:  It's right on the edge of their break and they make it but always feel insecure about it.

So...the next time rolls around

They try the song again, and as they approach the note that's supposed to make them feel great, a strange dread and fear kicks in.  They begin to "work up to it" in their mind.

Their neck begins to show veins.  The muscles under the chin jump in to help also.  (I've had students tell me that their entire neck and back hurts after singing!)  They may even begin to breathe irregularly, reducing oxygen supply to the areas that need it.

So here they are in a wrestling match with their own bodies, wondering why singing is so "hard."

The truth is, by the time their minds tell them how hard it is to hit this high note, they've enlisted every muscle in the region to "help" and they all jump on board.  The trouble is--it causes more strain and can even do damage to the tiny muscles that actually make the sound.

Part of what I have to teach singers caught in this trap, involves some exercises to dis-engage all those external muscles so they get out of the voice's way.

To show you what I mean, try this simple exercise:

Start on a comfortable note and sing "la, la, la" up the scale until you get just past the limit of "comfortable" and then return down the scale.

Now place the flat of your thumb under your chin and press upward VERY slightly.  Sing the same scale again and chances are, you'll feel the muscles under your chin start to press your thumb downward.  These muscles are not needed and in fact only add to your strain.

This time go up the scale and try to consciously keep those muscles from pressing against your thumb.  (You may not be able to do it without having first taken the strain off the vocal cords themselves with some other exercises).  But most likely you WILL be able to do this, and you'll notice that your voice enjoys this new sensation.

Next time, I'll reveal a lie about the nature of singing itself that can severly limit you if you believe it.

Big Lie #8 - Singing is just a skill, like law or accounting, and thus can be educated into someone.


Truth - Music, especially something as personal as singing, is more than a degree to earn.  It is connected deeply to the soul and has the ability to move people on a deeper level than few other things on earth.

This lie has an opposite which is equally a lie.  There are actually 2 ditches to avoid beside the road!

One tells you that singing is just a "skill people learn and a degree people earn!" This lie says that you just have to take the right courses and you can put the diploma on the wall and begin your "practice."

As far as I'm concerned, the education system is to blame for this lie.

What's strange is that, once the joy of singing has been beaten from the body of most singers who make it through the college program, they have little left to them but to settle into a teaching career of some sort.  So to some degree, this is a "true" lie.  You get your degree and then you can start your "practice" of teaching others to do what you did.

But if you desire to sing well, a degree will guarantee you absolutely nothing toward your goal.

To be fair, there is a ditch on the other side of the road also:  It tells you that you shouldn't do any "study" at all.  Just do it!  Just sing!  This normally comes from a fear of the other ditch.  "They'll mess up my sound."

If I must fall into the ditch, this is the one I prefer.  But it's not the truth either.

I say "stay out of both ditches" to make progress.

You should indeed "just do it" and never stop (unless you have damaged your voice--then you need vocal rest first).  But you CAN learn how to improve and sharpen your abilities for the rest of your life.

The best illustration I can think of is this:  Imagine I found a painter beside the road who was doing portraits.  He was very good.  But he only had 3 tubes of oil paint.  A black, a white, and a brown.  So I ask him why he didn't use more colors.  He says "because I only have these three tubes of paint!"

I find singers like this all the time.  They say "This is all I've got!"  I usually answer "You have no idea what you've got."  Then I proceed to give them more colors to paint with, vocally speaking.

I have no interest in forcing them to paint like Picasso or Rembrandt.  I just want them to have all the colors they want.

They are unsure at first, but then they begin to see the possibilities and new choices that are now in their hands!  It's very exciting to watch.

Big Lie #9 - To sing with power, especially up high, you need to exert a great deal of physical effort.


Truth - Your power does NOT come from more force applied.  It comes from utilizing frequencies and airflow in the most efficient way.

Archimedes said "give me a long enough lever and I can move the earth itself."

To get vocal power, one uses a figurative form of leverage.

When you produce tones in the upper registers the way your voice was designed, you will use LESS airflow and less force than you do on lower notes!

There are some simple exercises that automatically train your vocal cords to stop stretching and straining and start "zipping up" for the high notes. Then you will necessarily use less air to produce tone.

WHY?  Because the little half inch space through which all the air flows when speaking and singing actually get's even smaller!  So if the cords close off half their vibrating length, you should expect to use only half the air to produce tone.

The cords actually will close off even more length and shift into "whistle range" (like Mariah Carey's signature sounds).

So with only half the airflow going through the cords, it should be even easier to sing a high note than lower notes.

So why does it feel so difficult? Because many a singer tries to get 2nd gear results by staying in 1st gear!

If you don't train your cords to "zip up," you only have one other alternative to reaching higher notes--and that's stretching the vocal cord muscles tighter!


Now, what do you do to produce more power?


Once you have learned to easily move into the higher notes, you can apply more airflow as needed to produce more volume.  It will feel like "leaning into the note."  The key is to regularly do some exercises that keep you from venturing back in to the "try harder to get louder" mindset.

And there's another way to increase the "size" of your sound!

It's called "formant."  This is a lost vocal art that's coming back.  It involves experimenting with the shape of the mouth and throat until you find a "resonating frequency" that causes the sound waves to actually double and sometimes triple ONE ANOTHER!

To illustrate, the next time you are in the shower, you can find the shower's "resonating frequency" by starting to sing "ooooh" down low and sliding up in pitch until you reach a pitch that makes the shower seem to "fill" with the sound.

Stop there and sing that pitch and you'll notice that the entire shower becomes part of your voice!

If you could change the dimensions of the shower, you could eventually get the same effect on all notes!  Fortunately, you CAN change the shape of the inside of your mouth and throat and find THEIR "resonating frequency."  This can cause a doubling of your vocal volume without any extra push whatsoever.

I hope you've learned a lot from this series.  Be looking for your "Vocal Tips" newsletter from time to time, and don't forget to go check out what's new at www.singingsuccess.com

Yes, there is a 10th Lie, believe it or not!

I hear this one all the time. And because I constantly battle this lie, I'm pretty sure you do too.  In hopes of helping you win this battle, I'll make you a special offer at the end of this article.


Big Lie #10 - The most talented singers are the most successful.


Truth - Talent is very important, but the truth is, when it comes to success, a singer's talent counts for less than his or her belief level, willingness to work, diligence in planning, investment of time and money into reaching his or her goals, and MOSTLY just plain old persistence.

You've heard of Aesop's fable of the "Tortoise and Hare."

The hare was infinitely more talented at race-running than the tortoise-yet the tortoise proved more SUCCESSFUL at race-running.

The lesson of this tale isn't that it's better to be un-talented.

The lesson is:  There are more important factors to success than the amount of talent you have!

HERE'S THE GOOD NEWS!

You have complete control over the most important factors in your success!  If you have a desire to work into a music career, you can do it.  If you have a desire to just express yourself without unnecessary limits, you can!  How can I prove that to you?

Simple! No matter what your level of talent, I can name half a dozen very successful singers who sing at a LOWER level of proficciency than you do!

HELLO!? Can you say Bob Dylan?!?  (I still love listening to his music, by the way.)

Now let's look at some of these success factors:

1.  Belief level--There's a good chance this means the opposite of what you think.  Belief level does NOT mean that you know you are the "cat's meow," vocally speaking!

It means that you believe that you have something of value to give to an audience!  It doesn't mean you've successfully caressed your ego.  It means that you have FORGOTTEN your ego and found out how important it is to SERVE an audience (your customer) effectively.

It IS confidence, but it's a confidence that comes from knowing that you are capable of meeting a need, or a want, that some segment of the population is experiencing!

Just getting to this point is hard work!  The hardest part is getting over yourself!

You'll know when you have this, because you'll stop asking the question "Will they like me?" and start asking the question "How can I give them what they need and want?"  Once you answer that question, you'll have "belief level."

2.  Willingness to work--I'm afraid ALL of us have experienced laziness.  So you're familiar with it, I'm sure.  But here's what you may not have thought of.  Laziness disguises itself as other things!

Laziness will call itself "fear!"  If you have avoided going forward toward your goals, you may have become too "lazy" to push through the fear that everyone must push through to meet a worthy goal.

Here's another one:  Laziness will call itself, of all things, "busy-ness!"  Yes, there are singers who practice so much, they never get out and "just do it!"  They'll work hard in the rehearsal room, but still won't go make the contacts to get in front of an audience they can serve.

Here's another one:  Laziness will call itself "waiting!"  I wish I had a dime for every singer that's "waiting for a recording contract!"  It's as if they are saying, "if someone will come wake me up around 11 am and present me with a multi-million dollar contract, I'm willing to sign it.  But I don't want to knock on any doors."

There are no "pre-packaged" lives to live!

3.  Diligence in planning--This has to do with the previous ingredient.  Most of us singers are sensitive souls who have trouble managing the logistics of life. Do you have a dislike for planning?  I DO!

If that's you, you have to face it!  The answer isn't to change your personality.  The answer is to build a system that allows you to plan and then work the plan.

TRY THIS!

Paste this question on cards in several places where you live and work:

"What's the NEXT ACTION?"

The question means "What is the next PHYSICAL action needed to move a project forward?"

It's so simple, you'll be tempted to say "That won't work!  I'm hopelessly un-organized--a professional procrastinator!"

Here's what this will do.  It will give you instant clarity on any project or issue that you face.  Let's look at an example:

Let's say you have, floating in your brain, some desire to sing to an audience--let's say your church.

What's the NEXT ACTION that would move this goal forward by one step?  Answering this question will normally take about 15 seconds!

Your thought process will go something like this:  "Well, I don't know how they schedule singers in my church.  I guess Jim, the music guy could tell me that.  I don't have his number though.  Wait, Alice talks to him, she'll have his number!"

Next action = Call Alice for Jim's contact info.

This seems way too simple to work, but I promise it really works!!  As soon as you write this on your "to-do" list, you'll feel a surge of energy, because it's very tangible and do-able.

The next time you have about 10 mins. in the middle of your day, you look at your list and when your eyes hit the "Call Alice" item, you'll feel another surge of energy that says "I can do this, because it's clear and simple."

After the call to Alice, you're likely to just call Jim right then!  After your call to Jim, take the next 15 seconds and ask...

"What's the NEXT Action?"

Suppose Jim told you he needs to hear a demo CD first.

Your thought process might go like this:  "I need to get him that demo CD.  Wait, I don't have any left but my original copy.  Oh yeah, I sent it to Mom.  I wonder if she still has it.  I better ask her."

Next action = Call Mom and tell her to send demo CD back.

You get the picture.  By the way, this works wonders in ANY business setting!

4. Investment in Time and Money--This is pretty clear.  You ONLY get a return on what you invest.

I'm amazed at how much musicians will spend on a nice instrument (like a handmade guitar) or some accessories.  But singers will often just assume that they shouldn't have to invest any time or money in THEIR instrument!

Then again, I've seen hundreds of singers invest in a good system (of course, I believe my system is the best) and sure enough, they get that amazing return, vocally.

But it's painful to see singers go for years, wondering why they still don't have any confidence OR an audience.

My sincere desire is that you would take the chance.  Take the leap!

That brings me to what I mentioned above. You've shown an unusual amount of determination just by reading this entire report.  So I am willing to make an unheard of offer!

If you don't have my Singing Success program yet, and you're riding the fence, I want you to just order it WITHOUT PAYING FOR IT!

That's right!  Use it for 30 days, and if it doesn't give you the results you want, then send it back and I'll never charge you for it!

Yep!  You get the program, try it out, if it doesn't work, send it back and you'll never even be charged for it.

For the next 48 hours you can get this special offer at:
http://www.singingsuccess.com/9_lies_special.htm

Don't miss this! Now there's no reason NOT to try my program.  Thanks again and...