Top 10 Songs That Demand a Wide Range to Nail

She may be an icon and a legend, but Beyoncé doesn’t get nearly enough credit for her vocal technique. The last half of this joyous track from her fourth album is a showcase of her range. “Love On Top” is a buoyant and exuberant song about finally finding a partner who respects you. But that joy is earned through some pretty complicated vocal acrobatics. Requiring energy, precision, and breath support, the famed climax of the song is a test for even a trained singer. With each new repetition of the chorus, the song ascends to a higher key. It’s no small feat. Maybe try this one in the shower before you bring it to karaoke night.

Mariah Carey and Harry Nilsson may have found great success with their covers of this vocally strenuous ballad, but it was rock band Badfinger who first introduced it. In fact, the original version may cover the most ground as far as singing goes. The song about lost love is heartbreaking to the point of being over-the-top, but there’s no denying that with the right power and artist behind it, it’s a real tearjerker. But no matter what version you listen to, a performer has to sell the emotion at what may be the top and bottom of their range.

What really sets this one apart as far as range goes are the notes Sia belts. The verses mostly stay in a pretty comfortable and stable spot for a lot of singers. It’s when you get to the chorus, with those trademark embellishments Sia puts on words like “I’m” and “Chandelier,” that you can get tripped up. These embellishments are what make the song memorable. Without them, something would clearly be missing. Sia’s technique also makes her version almost untouchable. It’s why she can flip between head and chest voice so easily during the chorus, and why the rest of us risk vocal damage.

Thick with sultry, bluesy verses and a chorus that can blow the roof off the place, Roy Orbison’s 1963 country pop single is a great test for a singer. It would later become even better known from the cover by Linda Ronstadt. Both artists have something in common. Their vocal skills were near untouchable. Not only could they sit comfortably in the song’s notably low parts, but they both made its heartfelt, nostalgic chorus ring clear as a bell. Ronstadt’s falsetto at the end forever puts her stamp on it, but it’s optional, and definitely not for beginners.

While “Bohemian Rhapsody” has some challenging notes, its four part harmony does a great job of dividing the work. But Freddie Mercury’s incredible voice might get one of its best workouts on “Under Pressure.” sharing the vocals with David Bowie gave him a chance to be playful and cycle through his range like a jazz artist. Mercury unleashes some incredibly high notes in it. Some of them are so high he didn’t replicate them live. But what he didn’t deliver in range, he could always make up for in power.

This jazz singer made history by having the first a cappella song to hit the top of the charts. “Don’t Worry, Be Happy” highlights Bobby McFerrin’s considerable range and talent for maneuvering between pitches almost instantly. What may sound like an easy, breezy song is anything but. Shifting from a lower register to a high one is difficult enough. Try doing that without knowing where you’re going to breathe. When you listen to the track, he doesn’t have much time to make those transitions, but you wouldn’t know it by the fullness and confidence in his voice.

There’s a world in which you could sing this song without hitting the whistle note. But anyone who’s ever heard “Lovin’ You” is going to be really disappointed if you don’t. Minnie Riperton was a marvel. Her legendary five-octave range and versatility of genre make her hard to compete with even now. “Lovin’ You'' isn't just about the high notes, though. It’s got lots of subtle rises and falls within the same phrases. Not only that, but it’s meant to be a lullaby. So, if you try to compensate with lung power, it loses its magic.

Catchy and upbeat, this seems like a karaoke friendly 80s bop at first. But then comes that chorus. Up to that point, Morten Harket, the lead singer of Norwegian pop band a-ha, demonstrates a fairly smooth and deep voice. So, when he comes out with that left hook of a high note at the end of the chorus, it makes you sit up and take notice. The chorus stretches the entire range of notes within the song, increasing with each new phrase. Even then, it’s still surprisingly high once it tops out. And ultimately, it makes the whole song all the more memorable and hard to perform.

Whitney Houston’s version is iconic, to be sure. But even in the hands of original singer-songwriter Dolly Parton, this soaring ballad is a feat of vocal acrobatics. Regardless of the genre and style, “I Will Always Love You” suits a great singer. Its story of lovers parting and wishing each other the best packs enough narrative punch on its own. But the emotional climax doesn’t really hit without those soaring notes, and that’s where Whitney really sets up the challenge to singers. The best thing about the song is that it suits so many different genres. Whether it’s country, pop, or R&B, an ability to stretch the limits of your voice is a must.

Designed to show off Carey’s full and luscious deep tones, her pristine belt, and her famous whistle register, “Emotions” runs the gamut of her five-octave range. Aside from the breadth of notes it covers, it’s also incredibly fast-paced. Even if you can make the transitions, you need time to catch your breath to give each note the support it needs. It’s also unique in her discography. In many Mariah Carey songs, the whistles are a detail you might be able to do without and still deliver a good rendition. But the whistle notes are not a side dish in “Emotions.” Sticking the landing almost depends on them.

Which of these songs would you be brave enough to sing at karaoke? Tell us in the comments.