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These vocal powerhouses will leave you breathless! Join us as we count down the most vocally demanding songs that challenge even the most accomplished female singers. From Whitney Houston's soaring ballads to Mariah Carey's whistle tones, these tracks require incredible range, technique, and stamina to master properly.
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00:00Welcome to Ms. Mojo, and today we're counting down our picks for the most
00:11demanding songs written for female vocalists.
00:20Number 50. Zombie. The Cranberries.
00:23The late Doris O'Riordan had one of the most distinctive voices in popular music,
00:29despite the cranberries rock sound, her own work employed classical and
00:33difficult-to-master techniques like yodeling and keening.
00:45As beloved as it is, there's a lot to consider about Zombie. Its allusions to the decades-long
00:51troubles of Northern Ireland makes it more than just a song.
00:59To carry this one off, it takes gravitas and a deeper understanding of the pain and technique
01:07behind it. Mastering repeated phrases and a punching, aggressive approach to the lyrics,
01:13her voice is both beautiful and stirring to listen to.
01:16Number 49. Spectrum. Florence and the Machine. After her band's aptly titled debut Lungs,
01:31Florence Welch pushed her big voice even further with ceremonials.
01:35The album's tracklist is full of songs meant to showcase and test her abilities. While Never
01:47Let Me Go is often cited as one of Florence and The Machine's most challenging songs,
01:52Welch herself feels that Spectrum is way up there in terms of difficulty.
01:57In a 2025 interview with Far Out Magazine, she explained that she hasn't sung the song in years.
02:11When she wrote it outside of her usual register,
02:14she didn't think about having to recreate it live over and over.
02:18Number 48. Girls Just Wanna Have Fun. Cyndi Lauper.
02:30It may be a popular song to scream at the top of your lungs,
02:34but that doesn't make it less hard to sing. Cyndi Lauper's highest notes are not for the faint
02:39of heart. Girls Just Wanna Have Fun was originally written by and for a man. However,
02:51changes made to the song between its composition and its recording made it a very different song.
03:04Lauper's distinctive wail and yelps are hard enough to pull off,
03:08but the song is a little too high and a little too fast for an untrained singer
03:13to ever really sound good performing.
03:23Number 47. Rainbow High. Patti LuPone.
03:26Evita, Andrew Lloyd Webber and Tim Rice's blockbuster bio-musical about the former first lady of Argentina,
03:42hands its leading actress several whoppers. Original Broadway star Patti LuPone made her name with it.
03:49Don't Cry For Me Argentina requires power and gravitas, but Rainbow High is the real test.
03:55I need to be dazzling. I want to be rainbow high.
04:00The song sees Eva Peron summing up the image she must present during her diplomatic tour of Europe.
04:07All my dark camisards expect me to outshine the enemy.
04:10They are a shocker sea. I want to support them.
04:14It's a roller coaster. The changing meter of the song is already challenging, but the constant shifting between low and high notes
04:22is liable to trip up even the best singers.
04:33Number 46. Let It Go. Idina Menzel.
04:36Something about powerful, misunderstood, musically gifted witches brings out the best in Idina Menzel.
04:42Her big showstopper from Frozen is a musically complex song.
04:46No right, no wrong, no rules for me. I'm free.
04:54Let it go, let it go. I am one with the wind and sky.
05:01Engaging the musical theater star's legendary vocal agility,
05:05Let it go is an avalanche of emotion and fierce belting. It's also incredibly fast for the kind of ballad it is.
05:11My soul is spiraling in frozen fractals on the rim.
05:18The song's writers knew what they had with Menzel and composed it with her three-octave range in mind.
05:24She sings it like a dare to do it better, but that's just the beginning.
05:28The Broadway version is even more belty and vocally demanding.
05:31The call never bothered me anyway.
05:35Number 45. You Oughta Know. Alanis Morissette.
05:48Some songs just make you want to scream along. Alanis Morissette's post-breakup revenge song is one of them.
05:54It's not fair to deny me on the cross I've been.
06:01You Oughta Know is an anthem of righteous anger and intense heartbreak.
06:05There's a lot of ground to cover emotionally and musically,
06:09and bridging the gap between the verses and that unforgettable chorus is not easy.
06:22Morissette performed it in one take at the end of a long session.
06:26A lot of its success has been chalked up to how unpolished and intimate the record feels.
06:31The problem with performing it is that Morissette's raw, distinctive lilt and authenticity are hard to copy.
06:37You, you, you oughta know.
06:41Number 44. By The Sea. Angela Lansbury.
06:45The original Mrs. Lovett made this song from Sweeney Todd look easy.
06:50As the eccentric pie maker in love with a homicidal barber,
06:53Angela Lansbury takes a patter approach to By The Sea.
06:56It seems like a piece of cake, or rather pie, but if you've ever tried to sing this one,
07:16you'll know the feverish way it has to be sung is anything but effortless.
07:20Delivered in sharp, short lines, the lyrics are smashed together,
07:24and don't really give you much opportunity to breathe.
07:27By the sea in our nest, we could share our kippers
07:31with the odd-paying guests.
07:33From the weekend trip, let's have a nice sunny suite
07:36for the guests to rest in now and then.
07:38You could do the guests in by the sea.
07:43Marry nice and proper.
07:46Even when the music slows down, the lyrics don't.
07:48That's not even to mention the amount of high falsetto notes she has to hit mid-breath.
08:06Number 43. My Immortal. Evanescence.
08:09Anchored by a sentimental string and piano backing,
08:12this gothic ballad is sad but effective.
08:15Evanescence frontwoman Amy Lee was praised for her delicate handling of this really tricky song.
08:29If you're not perfectly attuned to the song's music and message,
08:33My Immortal can easily sound whiny.
08:35Sadly, many of us have found that out.
08:38Because it's so mournful, it's easy to go wrong and have a full-on voice crack
08:42when you're supposed to sound elegant and ethereal.
08:50Lee's voice is perfect for this deeply emotional mode.
08:54Her spot-on vocal is exactly why it became one of the band's signature tracks.
08:58You cried, I'd wipe away all of your tears.
09:05Number 42. Through the Fire. Shaka Khan.
09:09Deceptively chill and low-key, this song is actually a huge challenge.
09:14Through the Fire is one of Shaka Khan's most famous tunes.
09:17Through the Fire, to the limit, to the wall.
09:23Though it features her voice at its smoothest, it also highlights her almost horn-like sound when
09:28she really starts going for it. Khan is a gifted vocal technician, able to quickly shift octaves,
09:34often in the same breath. And if that weren't enough, she sounds immaculate on the harmonies and
09:40ad-libbing she's doing over the melody.
09:42Through the Fire's climax is a building series of high notes and jazzy improvisations
09:54that are not for the beginner vocalist.
10:02Number 41. Memory. Elaine Page.
10:12Grizabella, the faded glamour cat, gets this musical's biggest moment.
10:28Memory is not just the most recognizable song from Cats, it's also the hardest to get right.
10:33The street lamp dies, another night is over, another day is dawning.
10:50Without sheer lung capacity and emotional resonance, it can sound drippy and overwrought.
10:55This is a song that requires a lot of sustained power, not just vocally, but in terms of acting
11:01ability to communicate the song's pretty heavy themes.
11:04With big belters who have significant acting chops like original West End star Elaine Page
11:10and Broadway's Betty Buckley, memory is in great hands.
11:21Number 40. Hello. Adele.
11:24Hello. It's me. A few years removed from her superstar making 21, the British singer-songwriter came back
11:33with a ballad to rival anything on that album. Her third album's lead single brought Adele back
11:39into deeply emotional territory. Hello definitely makes use of her full powers.
11:44As a profoundly moving ballad about reconnecting with a loved one, it's already a bit more dramatically
11:55complex. Adele softly coos the verses, deftly handling the curves of the melody in her lower,
12:01smoky register. But the chorus requires a higher register and a strong belt. To nail this song,
12:07you have to be able to do both.
12:17Number 39. Getting Married Today. Beth Howland.
12:21Pardon me is everybody here because if everybody's here, I want to thank you all for coming to the
12:24wedding. I'd appreciate your going even more. I mean you must have lots of better things to do and
12:27not a word of a department. When it premiered on Broadway in 1970, Company was pretty revolutionary.
12:33The show is a series of musical vignettes about marriage, and each character's song stands out
12:38for totally different reasons. Getting Married Today belongs to Amy, a bride whose cold feet has
12:44turned her wedding day into a nightmare of epic proportions. Listen everybody, look I don't know
12:48what you're waiting for. A wedding what's a wedding? It's a prehistoric ritual where everybody promises
12:51fidelity forever, which is maybe the most horrifying word I've ever heard, and which is followed by a
12:54honeymoon where suddenly you realize you're saddled with the nut and want to kill me, which you should.
12:57So thanks a bunch, but I'm not getting married. Go have lunch because I'm not getting married. You've been grand,
13:01but I'm not getting married. Don't just stand there. I'm not getting married. And don't tell Paul,
13:05but I'm not getting married today. The patter song is so jam-packed with hilarious and absurd lyrics
13:11that there's no space to think, let alone breathe. But it's not just breathing that's a problem here.
13:17Stephen Sondheim's lyrics can be complicated tongue twisters even at normal speed. At this speed,
13:22they're almost sadistic.
13:24I didn't want to have to tell you, but I may be coming down with hepatitis and I think I'm gonna faint,
13:27so if you want to see me banal, do it happily, but wouldn't it be funnier to go and watch a funeral?
13:30So thank you for the 27 dinner plate, the 37 butter knife, the 37 bread quick, the 37 get old.
13:34One more thing. I am not getting married. I am not getting married.
13:38Number 38. Dreams. The Cranberries.
13:41In 1994, the Cranberries released one of the most beautiful songs in their catalog.
13:52One reason Dreams is incredible is because it makes full use of lead singer Dolores O'Riordan's abilities.
14:06Those ethereal vocalizations on the track are actually a centuries-old tradition called
14:10Keening. Vocal flips like this, from chest voice into head voice, may sound light and airy,
14:17but they are not easy to reproduce. They require a certain level of mastery to sound anywhere near
14:23pleasing to the ear, and if you tried to do the song without them, it just wouldn't be the same.
14:34Number 37. Bleeding Love. Leona Lewis.
14:38After winning the X Factor, the British singer hit the ground running.
14:42Her biggest single, Bleeding Love, is a prime example of what set her apart from other artists.
14:54A mid-tempo R&B ballad, it was originally written by Jesse McCartney.
14:58However, it was later rewritten to make better use of Lewis's impressive range.
15:03I'll be wearing these colors for everyone to see.
15:09Bleeding Love almost constantly requires its performer to demonstrate a broad range of notes
15:14within a short phrase. It also has an incredible run in the back half of the song,
15:19that's not for the faint of heart or voice.
15:22Oh, you're coming over tonight.
15:25Keep beating the key.
15:27Number 36. If I Ain't Got You. Alicia Keys.
15:32This song has its heart in the right place, but it's where the breath is placed that matters.
15:37The composer and singer didn't do herself any favors when she wrote,
15:40If I Ain't Got You.
15:50Full of runs, short, sharp stops, and fast-paced lyrics in the chorus that make you have to watch
15:55where you choose to take your breaths, the track is pretty demanding.
15:59The title phrase itself is hard enough to get right.
16:02But everything means nothing if I ain't got you.
16:08It ends on a high note that comes in at the end of the phrase,
16:11and doesn't leave much room for error.
16:14We'll leave this one to Alicia Keys.
16:16Don't mean a thing if I ain't got you with me, baby.
16:25Number 35. It's all coming back to me now.
16:28There's a rumor that Jim Steinman actually refused to let his
16:41frequent collaborator Meatloaf record this ballad.
16:44Known for his opulent and elegaic style of songwriting,
16:47Steinman insisted It's All Coming Back to Me Now had to be sung by a woman.
16:52Celine Dion released her version in 1996, and it became an instant camp classic.
17:05This is a track full of intense emotion and oxygen-defying power.
17:10Not only does it have sustained, bold notes, but this song is over seven minutes long.
17:15The stamina that it takes is kind of amazing to think about.
17:18It's all coming back to me now.
17:23Number 34. Good Luck Babe, Chapel Roan.
17:34In 2024, the Grammy winner for Best New Artist released this song, which became a huge hit.
17:40Good Luck Babe sometimes feels like a series of vocal gymnastics.
17:44One of the things that makes it difficult is that it has several shifts between falsetto and
17:49chest voice. These shifts also aren't given much lead up.
18:01The track's producer, Dan Nigro, explained that recording it was an exceptionally long process
18:06because of how complex the vocals are. Roan's technical gifts made the possibilities almost endless.
18:13That's great for them. The rest of us trying to sing it at home are risking vocal damage every time.
18:26Number 33. Glitter and Be Gay, Barbara Cooke.
18:29As playful as it is hard to sing, this flitty number from Candide first dazzled audiences in 1956.
18:44Glitter and Be Gay straddles the line between opera and musical theater.
18:48Its performer has to balance incredibly high notes and the staccato vocalizations,
18:53all while acting the song's incredibly rich comedy.
18:57This was probably a walk in the park for Barbara Cooke, one of Broadway's most famous sopranos.
19:02Or at least she made it sound so.
19:12The song has since been reintroduced to audiences by a number of divas,
19:16including Kristen Chenoweth. Frankly, trying to follow in their footsteps takes a lot of bravery
19:22and a lot of delusion.
19:31Number 32. Stay With Me, Lorraine Ellison.
19:34Soul-bearing and raw, this 1966 track is a masterclass in emotions.
19:40Stay With Me is full of anger, desperation, longing and lust.
19:44No, no, I can't believe you're leaving me.
19:53Lorraine Ellison's first recording is essential,
19:56but the song tends to bring out the best in every incredible performer who takes it on.
20:00That doesn't mean it's easy.
20:01Stay With Me, Stay With Me, I'm making you love them.
20:08Sustaining those notes and still sounding good is one thing,
20:11but that's only half the battle.
20:13A performer can only carry it off if they believe each agonized word of it.
20:17Without putting every ounce of yourself into it,
20:20Stay With Me would just feel awkward.
20:22I'm making you love, I can't go on.
20:28Number 31. Crazy On You, Heart.
20:32Legendary rock goddess Anne Wilson is one vocalist you don't want to mess with.
20:36As part of the group Heart, Wilson and her sister Nancy wrote Crazy On You together.
20:48The weaving and wild series of notes in the chorus make this one a pretty steep
20:52hill to climb.
20:53Wilson wails into the mic without ever losing control of her pitch.
21:04If a singer doesn't have total command over the peaks and valleys of their vocal range,
21:09they don't stand a chance on this one.
21:11The fact that Wilson was able to recreate those vocals live is a wonder in itself.
21:16Let me go crazy, crazy!
21:23Number 30. Video Games, Lana Del Rey.
21:26It's the song that put her on the map.
21:28And for good reason.
21:30Video games sounded unlike anything else released at the time.
21:33The slower tempo and dreamy production helped it stand out amongst the standard pop fare.
21:38It may not seem like the most complicated track to learn due to it primarily being in a lower key.
21:51However, Del Rey's distinct style makes it much harder to pull off.
21:55Tell you all the time. Heaven is a place on earth for you.
22:00She infuses the lyrics with pure emotion.
22:04All while carefully riding the line between having a rich and airy tone.
22:08This creates a unique sound that's tough to emulate.
22:12Without either component, the performance runs the risk of becoming tedious.
22:16Something she's managed to avoid her entire career.
22:27Number 29. Long Long Time, Linda Ronstadt.
22:31Loving someone who doesn't return your feelings is a pain like no other.
22:35Linda Ronstadt manages to capture this bittersweet sensation perfectly in Long Long Time.
22:46It's a masterclass in dynamics.
22:51She has the ability to quickly fluctuate between softer spoken lines and louder belting.
23:06It takes a well-practiced vocalist to be able to pull off such an effortless switch.
23:11And she does it so well that she makes it seem easy.
23:14Except it's far from simple.
23:17It's just that Ronstadt has a powerful voice.
23:19Which is particularly apparent after the final refrain.
23:23She sings a series of deceptively simple-seeming notes.
23:26And while they aren't the hardest to reach,
23:28one needs major skill to pull them off without sounding uncomfortable.
23:42Number 28. Bang Bang.
23:44Jessi J, Ariana Grande, and Nicki Minaj.
23:48Trying to emulate one powerhouse is tough enough.
23:51Having to mimic three is a feat like no other.
23:54Bang Bang may just seem like a fun summer bop.
23:56But there are actually several layers of complex vocals.
23:59No, I don't need to hear you talk the talk.
24:02Cause gonna show me what your mama gave.
24:04Each star brings their own unique style to the song.
24:08Between Jessi J's commanding voice, Grande's effortless belting,
24:12and Minaj's signature flow.
24:14Every aspect of it is tailored to show off their artistry.
24:17They could have easily overpowered each other.
24:19But they compliment one another instead.
24:21Bang Bang into the room.
24:23I know you want it.
24:24Bang Bang all the way with you.
24:27I know I said Bang Bang.
24:28This type of restraint isn't easy.
24:31And goes to show how much work they've put into their technique.
24:34Thus, Bang Bang is a surprisingly elaborate hit that's difficult to master in all its glory.
24:39But that doesn't mean it isn't fun to try.
24:41You may think their ballads would be the hardest to pull off.
25:01But that distinction goes to their debut single.
25:04Bring Me to Life not only put Evanescence on the map,
25:06It also gave their lead singer, Amy Lee, the perfect opportunity to showcase her stylistic range.
25:13She starts off with a lighter sound during the verses,
25:15and then switches to a more powerful tone as soon as the chorus kicks in.
25:19Without sounding strained at all.
25:21Wake me up inside.
25:22Save me.
25:24Call my name and save me from the dark.
25:29The notes come in at a difficult place, requiring the performer to slip into their head voice,
25:34while still relying on their lower register for support.
25:37While some can pull it off, no one can hit those nuances quite like Amy Lee.
25:42Especially not a beginner.
25:50Number 26.
25:51Over the Rainbow.
25:52Judy Garland.
25:53It's hard to believe she was only a teenager when she first started performing this iconic piece,
26:08originally written for The Wizard of Oz.
26:11Judy Garland wowed audiences across the globe with her performance of the hopeful,
26:15yet melancholic Over the Rainbow.
26:17It's a wistful number, all about how Dorothy wishes she could be anywhere other than home.
26:36The forlornness in the delivery is where the real complexity comes in.
26:40Without it, the number loses most of its magic.
26:43While other musicians have taken on the challenge and done a serviceable job,
26:48none have been able to come close to Garland's original interpretation.
26:52Why, oh, why can't I?
27:03Number 25.
27:04Since You've Been Gone.
27:05Kelly Clarkson.
27:07After winning the premiere season of American Idol, Clarkson proved she was a star time and again.
27:12Her second studio album gave us this instant classic,
27:16one that has been imitated both in real life and on screen.
27:19But since you've been gone, I can't breathe for the first time.
27:26Her anger is palpable during the track, particularly during the bridge and final hook.
27:32Her voice is filled with intensity, delivering each word with scathing fury.
27:37That, coupled with her impressive upper range,
27:39makes this one of the most technically demanding pop bangers to reach the charts.
27:51The end is by far the most impressive part,
27:54as the singer maintains a perfectly controlled tone that never falters.
27:58It's clear to see why this was the audition song in Pitch Perfect.
28:01It's perfect for testing one's prowess.
28:11Number 24.
28:12All I Wanted.
28:13Paramore.
28:18There are plenty of numbers by the band that highlight Hayley Williams' exquisite vocals,
28:23but none have quite the same effect as this one.
28:25All I Wanted starts out as a classic Paramore tune,
28:29only for the gears to switch once the chorus starts.
28:38Williams flawlessly reaches those higher tones without it sounding forced.
28:43That's much easier said than done for the rest of us.
28:46She belts them out like it's second nature,
28:48effectively communicating the sentiment of the piece through her voice alone.
28:52It's undoubtedly ambitious, especially the extended note near the end.
28:57The music temporarily cutting out puts her raw talent at the forefront,
29:00creating the perfect musical climax that not just anyone can pull off.
29:05All I Wanted was you!
29:12Number 23.
29:13Stone Cold.
29:14Demi Lovato.
29:15Already proving to be one of the best of their Disney Channel cohorts,
29:19Lovato showed just how versatile they are on this heart-wrenching single.
29:24Nailing Stone Cold requires a ton of impressive skill,
29:27including transitioning between octaves like it's nothing.
29:30Stone Cold, baby, God knows I try to feel.
29:39Lovato pours every ounce of feeling into it, creating a modern-day soul number.
29:44Plus, the fact that the instrumental is relatively stripped back,
29:47means there's nowhere to hide, making the final product a true testament to their vocal ability.
30:00While hitting the notes is hard enough,
30:01the breath control Lovato utilizes to properly support them also can't be understated.
30:07Needless to say, an amateur would need some serious practice,
30:10and then some before covering this powerful ballad.
30:19Number 22.
30:20Defying Gravity.
30:21Idina Menzel and Kristen Chenoweth.
30:24Wicked is one of the most famous musicals of the 21st century, and for good reason.
30:29It has a litany of unforgettable numbers.
30:31One of the most beloved and complicated songs, of course, is Defying Gravity,
30:36which Elphaba sings, joined in some spots by Glinda and the chorus, as she embraces her true power.
30:50This arc is evidenced by her dynamics and cadence gradually increasing,
30:55eventually culminating in that seemingly insurmountable riff.
30:58It's also the final moment before the end of the first act,
31:02meaning it requires some serious acting ability to pull off.
31:10Countless people have taken on the piece, but it's a challenge for anyone to execute well.
31:15While some have done it justice, Kristen Chenoweth and Idina Menzel's rendition remains the blueprint.
31:21Wizard that there is, or what, is ever gonna bring me down!
31:36Number 21.
31:38You Make Me Feel Like a Natural Woman.
31:40Aretha Franklin.
31:41Aretha Franklin's voice was one in a million,
31:44which is why it's so hard to perfectly nail one of her tracks.
31:47And if I make you happy, do I need to do more?
31:52One of her most complex by far is You Make Me Feel Like a Natural Woman,
31:56a ballad expressing how a lover makes the narrator feel down to her core.
32:00Franklin effortlessly shows off her vocal range throughout,
32:04ranging from rich lower tones to gorgeous, lilting higher notes.
32:08You make me feel like a natural woman.
32:16It isn't a song for the faint of heart,
32:18as reaching those without being pitchy is nearly impossible.
32:22The self-control needed to pull the technique off while maintaining that passionate, joyful sound
32:27is something that only experts have,
32:29making this one of the most intricate songs ever.
32:38Number 20.
32:39My All.
32:40Mariah Carey.
32:41As soon as those sultry guitars come in, you know you're in for a performance.
32:54Mariah Carey is one of the greatest vocal performers we have,
32:57and on the fifth single from her album Butterfly, she proved it again.
33:01Mariah Carey starts off quietly on this sexy, passionate song,
33:14content to show off her melisma skills, and affords us soft runs all over the place.
33:20In the second and third choruses, her voice grows stronger as she lets out those high notes.
33:25I give my all tonight, just one more night with you.
33:34But as any good singer should, Carey never loses control,
33:38effortlessly switching between her belt and her head voice.
33:41I give my all for your love tonight.
33:49Number 19.
33:50My Heart Will Go On.
33:52Céline Dion.
33:531997 didn't just give us James Cameron's masterpiece of a film.
33:58It also brought us one of the best songs ever written and performed with it.
34:02A song that would be sung at karaoke until the end of time.
34:05Near, far, wherever you are.
34:14Still, it might be best to leave this one to the pros.
34:17Not only because My Heart Will Go On is sung by the incomparable Céline Dion,
34:21but also because it's incredibly difficult to get just right.
34:24Once more, you open the door.
34:33Dion captures the emotion of the love ballad in a way no one else can with her effortless control.
34:38Her voice grows steadily stronger as the music progresses,
34:42before completely exploding at the end, attacking those high notes perfectly.
34:55Number 18.
34:56How Can I Ease The Pain.
34:58Lisa Fisher.
34:59Here's one of the most impossible to nail slow jams of all time.
35:03Seriously, we don't know how Lisa Fisher does it.
35:06She's a goddess.
35:07I feel your fire, then I lose my self-control.
35:14It was released in 1991 and remains one of Fisher's biggest hits to this day.
35:19Fisher manages to stretch her notes like no other, and listening to her attain those high notes so
35:24flawlessly makes us wish she got more opportunities like this to show off her chops.
35:36How Can I Ease The Pain requires an incredibly strong belter to get up into that high register,
35:41while still pouring passion into the words.
35:44And once Fisher lets loose on those whistle tones, please.
35:56Number 17.
35:57Unbreak My Heart.
35:58Toni Braxton.
35:59Don't leave me in all this pain.
36:04Don't leave me out in the rain.
36:07It's not just the high notes that can be difficult to hit.
36:12The opening of Unbreak My Heart doesn't necessarily make you feel like the song's going to be that
36:16hard to sing. But then you hear the incredible range of Toni Braxton.
36:27From that first verse, Braxton's smoky vocals follow through the lower notes of her register with
36:33incredible strength and power. On top of that, her talent only shines stronger on the second verse,
36:38when she shows us all how low she can go while still maintaining precise control over her stellar runs.
36:54Number 16.
36:55Total Eclipse Of The Heart.
36:56Bonnie Tyler.
36:57Every now and then I get a little bit red,
37:00and I dream of something white.
37:03The rock ballad is one of the best sub-genres music has given us over the years.
37:07And Total Eclipse Of The Heart is rock ballad execution at its finest.
37:12This song not only requires melodramatic, rock and roll passion at a high level,
37:17but tremendous breath support as well.
37:25Bonnie Tyler stays up in that higher register for most of it.
37:28And not for nothing, those verses and choruses have a lot of words.
37:33With so much movement and not a ton of time to breathe,
37:36Total Eclipse Of The Heart is certainly one of the most impressive ballads of its kind.
37:48Number 15. Imagine. Ariana Grande.
37:52Oh, you wanted more whistle tones in modern pop music?
37:55Well, Ariana Grande heard you, and she delivered.
38:04It's no secret that Grande is an expert singer, but with her hit Imagine, she went further than
38:09we could have imagined. The song's chorus requires the singer to make a large vocal leap on the word
38:15Imagine, and necessitates pinpoint precision in its notes.
38:24But all that aside, if you want to sound like Grande when you sing this song,
38:28you've got to try and go for those whistle tones at the end. Definitely not an easy task.
38:32There's a fire starting in my heart. Reaching a fever pitch, and it's bringing me out the dark.
38:53Rolling in the Deep was the song that first brought English singer Adele to international stardom.
38:59And for good reason. Written in response to a heated breakup she once had,
39:03the lyrics tell a personal story. It's a song about a lover telling her ex that he is too foolish to
39:09see how much he could have had with her. It's an angry, passionate tune. There are no whispers
39:23of despair in this brassy number, and only a strong singer with both low and high-range vocal power
39:29can pull it off. Adele beautifully communicates the anger in the track without sacrificing the purity
39:34of her sound.
39:43Number 13. And I am telling you, I'm not going. Jennifer Holliday.
39:48When Jennifer Holliday originated the role of Effie White in Dreamgirls on Broadway in 1981,
39:53this number brought down the house. Holliday won a Tony Award, and was set on the path to pop and R&B
40:00fame. This song takes place after a stormy scene, where Effie finds out she's been thrown out of her
40:13singing group. She adamantly insists to the manager that she's staying no matter what because she loves
40:19him. Strong, high belting, and convincing drama are essential to the musical number,
40:31which makes it effective only when sung by a very talented singer and actress.
40:36And this isn't the only difficult song from Dreamgirls. I Am Changing definitely
40:49strains our vocal chords a bit.
40:51I know it's gonna work out this time!
40:55Number 12. Lovin' You, Minnie Riperton.
41:05Though she performed with Stevie Wonder and Rotary Connection,
41:09Minnie Riperton spent most of her career struggling to be noticed. She died tragically young,
41:14succumbing to cancer when she was only 31 years old. However, she did have one smash hit single.
41:21And this is it. Lovin' You is a soothing, repetitive track, seemingly simple,
41:26but by no means easy to pull off. Some notes are so high, they've been mistaken for bird whistles.
41:39There actually are some bird twitters in the background,
41:42but those sweet fluting notes are all Riperton, who makes them sound amazingly effortless.
41:51There's a lot of fun, but it's a lot of fun.
41:55Number 11. Don't Rain On My Parade.
41:57Barbara Streisand.
41:59Notoriously difficult, Don't Rain On My Parade is from the musical Funny Girl,
42:04which was based on the life of Fanny Brice.
42:06If someone takes a spill, it's me and not you!
42:09Who told you you're allowed to rain on my parade!
42:13Barbara Streisand, who played the lead role on Broadway in 1964 and won an Oscar for her
42:19performance in the movie adaptation, makes it sound quite natural. However, the song's tricky rhythms,
42:25frequent leaps, and consistent high energy have daunted many aspiring vocalists.
42:30Although a few professionals like Bea Arthur and Idina Menzel have covered the song, the musical
42:41wasn't revived on Broadway for decades, possibly because of the challenge of finding someone for
42:46that dynamic leading role. That changed in 2022, however, with the revival that eventually cast
42:53Lea Michele as Fanny.
43:09Number 10. Wuthering Heights.
43:11Kate Bush.
43:13Inspired by Emily Bronte's tale of tempestuous romance, the song Wuthering Heights focuses on the
43:18part of the story where Catherine's ghost returns to Heathcliff after many years of anger
43:23and misunderstanding in life.
43:25Could you leave me when I needed to possess you?
43:30The song took the world by storm in 1978, topping charts throughout the UK.
43:35Kate Bush has a style that is extremely difficult to imitate, and while her voice sounds natural
43:41and sweet in the single's high falsetto runs, they are extremely difficult for most singers to achieve.
43:46Let you hide me, let you cry, you're sorry,
43:52And as if that weren't enough, the backing track gives almost no support,
43:58as many karaoke performers have discovered to their dismay.
44:01And just in case you were thinking about it, no, we wouldn't try running up that hill either.
44:23Number 9. I Have Nothing. Whitney Houston.
44:26The Bodyguard. The 1992 movie that stars Whitney Houston as a famous singer and Kevin Cosner as her,
44:32well, titular bodyguard, is somewhat of a cheesy mess. But that soundtrack is definitely the silver lining.
44:38I will hold it back again. This passion inside. I can't run from myself. There's nowhere to hide.
44:49I Have Nothing is but one of the amazing singles that came from The Bodyguard,
44:53and also one of the toughest in Whitney Houston's roster.
44:56The song requires incredible force and resonance, particularly when it hits the chorus.
45:13We don't know about you, but we can't imagine anyone other than Houston giving this one the
45:18passion it deserves.
45:29Number 8. Vision of Love. Mariah Carey.
45:32It seems too far out of reach to picture a time when Mariah Carey wasn't popping off in her whistle
45:38register. Turns out, this time was actually before 1990.
45:48The release of Vision of Love was actually the first time audiences would hear Carey hit those tones.
45:54And it was incredible.
46:02Still, the whistle notes are not the only thing that makes Vision of Love so impressive.
46:07It requires a singer with an incredible depth of range, downright insane breath control,
46:12and the ability to transition vocally without a hitch.
46:24Number 7. Listen, Beyoncé.
46:27While this song is also technically from Dreamgirls, it did not appear in the original musical.
46:32It was specially written for the 2006 movie adaptation.
46:35Listen is sung by a character who has felt stifled and uncertain throughout,
46:46until she finally breaks out in this show-stopping number,
46:49and demands that people listen to what she has to say.
46:57It's a fierce and dynamic tour de force, with big leaps,
47:01florid riffs, and long runs that require a strong, powerful voice to perform well.
47:07Beyoncé does an amazing job of keeping up the passion and volume without sacrificing any of that gorgeous flexibility.
47:14Listen to the song here in my heart.
47:22Number 6. Chandelier – Sia
47:25Sia has made a successful career writing songs for other singers,
47:28and originally, she intended Chandelier to be sung by Rihanna, with some sources also adding Beyoncé.
47:35But as she crafted the track, she realized it was one she needed to sing herself.
47:39Good song called phone blowing up, the ring on my doorbell, I feel the love, I feel the love.
47:48Although it is somewhat gritty and raw,
47:50describing the effects of hard partying and addiction,
47:53Chandelier still requires an accomplished singer,
47:56from low, rapid mutters to high leaps and strong held notes.
48:00It's a wild ride.
48:10Sia's voice blends pain and lyricism in a way that makes this song uniquely hers,
48:15and because of both her talents and her personal connection with the song,
48:19it's doubtful whether anyone else could perform it so effectively.
48:31Number 5. Hurt – Christina Aguilera
48:34Christina Aguilera is one of the most prolific singers in Hollywood.
48:45Unfortunately, one of her greatest, most difficult songs to sing is not one of her most famous.
48:56Hurt is a number from Aguilera's 2006 album Back to Basics.
49:00It sort of got buried under the pizzazz of the rest of the tracklist,
49:04which includes the likes of Ain't No Other Man and Candyman.
49:08However, in Hurt, Aguilera slows things down and delivers a
49:11masterful performance with incredible range.
49:14The chorus necessitates a kind of emotion and resonance that is rare to come by.
49:18I'm sorry for blaming you
49:25Number 4. All By Myself – Celine Dion
49:28When I was young, I never needed anyone…
49:35Celine Dion has won acclaim for many dramatic and challenging songs,
49:40but this one stretched even her impressive powers. A quiet, introspective beginning leads to a
49:45swelling key change, and finally, a passionate outpouring of sorrow that demands strong,
49:51sustained high notes relentlessly.
49:53All By Myself
49:58As with all deeply emotional pieces, the singer must be expressive without losing the beauty of the sound.
50:04Not an easy task at any time, but particularly hard when you're belting very high and very loud in
50:11front of a large audience. All By Myself has become one of Dion's most iconic songs,
50:17despite being a cover of an Eric Carman original, and there's a good reason you rarely hear someone
50:22else attempted.
50:32Number 3. Love On Top – Beyoncé
50:35It's time to talk about key changes. Beyoncé's 2011 hit Love On Top is one of the pop diva's most fun songs.
50:42Now everybody asks me why I'm smiling until ear to ear.
50:49From the outset, it doesn't seem like it will be particularly difficult to sing. Not more difficult
50:55than any other Beyoncé song anyway. But by the end, we've found ourselves with so many key changes,
51:01we don't even know how to begin counting them off.
51:03Baby, you're the one that I love. Baby, you're all I need. You're the only one I need.
51:11As Beyoncé's voice keeps getting higher and higher, our jaws keep dropping lower to the ground.
51:17It's insanely impressive how high up she can get, never mind the absolute clarity with which she does.
51:30Number 2. I Will Always Love You – Whitney Houston
51:34Whitney Houston had a voice unlike anyone else's.
51:37And I wish you joy and happiness.
51:43She won fame singing not just original songs, but covers and classics that had been done a hundred times,
51:50like the Star Spangled Banner. However, this tune, originally written and recorded by Dolly Parton,
51:56is probably Houston's most famous.
52:07The stamina and versatility required to sing I Will Always Love You are just the beginning.
52:12Because of the single's wide range of notes and dynamics, the singer must be able to adopt
52:17many different vocal characters, from sweetly quiet to powerfully low, and finally to triumphantly,
52:24but gorgeously high.
52:26And I will always love you.
52:35Or, at least, that's the way Houston sang it, and nearly everyone else has been too daunted to tackle it since.
52:42Before we continue, be sure to subscribe to our channel and ring the bell to get notified about
52:53our latest videos. You have the option to be notified for occasional videos or all of them.
52:58If you're on your phone, make sure you go into your settings and switch on notifications.
53:021. Emotions
53:14Many of our audience members probably guessed that a vocal performance by Mariah Carey was coming.
53:19They just didn't know which.
53:28Like Whitney Houston,
53:30Carey seems to be capable of performing vocal feats that are beyond those of regular mortals,
53:35and this one is a perfect example.
53:38Emotions is an upbeat R&B post-disco hit with no room for rest.
53:43One cannot help but wonder at Carey's constant high-energy belting,
53:47seemingly effortless runs, and of course, those incredible high notes soaring up into the stratosphere.
54:00A good operatic soprano could probably hit them,
54:03but rarely are notes so high heard with such pure and beautiful clarity.
54:08It all adds up to make this a fitting choice for our top most difficult song.
54:17Which of these songs do you still try to sing in the shower?
54:19Let us know in the comments.
54:25Stop! Stop!
54:27Okay.
54:27Good.
54:28That's pretty good.
54:29All right.
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