Should you know how to sing to make music?

This question often arises.
To make matters clearer, singers are people who have a good command of their voice and who have a musical ear that allows them to reproduce notes and melodies. They also have the ability to enter in a character to interpret the story of their song in the manner of an actor.

It makes sense to think that you have to know how to sing to find beautiful melodies … And no. Singing and composing are two quite different activities.
It’s like thinking that a racing driver, under the pretext that he masters driving, knows, too, how to build cars.
For the composer, the singer’s voice is neither more nor less than an instrument. A fairly central instrument, I grant you.

So do you have to know how to sing to compose?
For me clearly, no. You can very well compose based on your musical ear, your knowledge in music theory or some software to help you create your music like . You can even push some more or less right notes to record an idea on a dictaphone or your phone. Then recognize the notes you had in mind will be another game but you will already have an idea on which to work.

Nevertheless, knowing how to sing is an undeniable asset because if you sing right and you record a melody to remember, you can more easily recognize the notes sung when reproducing them on your software. You can with a multi-track recorder, sing the different tracks of an idea to see directly if harmonically everything works well together. This is a considerable time saver.
But the biggest advantage is that you can sing on your own tracks and that’s a really interesting point.
If you have a good musical ear and you can sing right but blow weak notes or which stay in your throat, then you can, if you want, take some singing lessons because it will help you to go faster in music making and, who may know how, to become a composer-performer.

I hope this article will be useful in your creations. Leave me a message in the comments if you have any questions or topics that you would like me to talk about.

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These books are intended for beginners, who are lost in front of the immensity of the possibilities offered by music creation, but also for more experienced composers who too often find themselves with the blank page syndrome or who have the impression of always doing the same thing, lacking originality and turning in circles. I have been in these situations many times and good news, nothing is set in stone.

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