<P> Voice coach John Quinlan was impressed by Sinatra's vocal range, remarking, "He has far more voice than people think he has . He can vocalize to a B - flat on top in full voice, and he doesn't need a mic either". As a singer, early on he was primarily influenced by Bing Crosby, but later believed that Tony Bennett was "the best singer in the business". Bennett also praised Sinatra himself, claiming that as a performer, he had "perfected the art of intimacy ." According to Nelson Riddle, Sinatra had a "fairly rangy voice", remarking that "His voice has a very strident, insistent sound in the top register, a smooth lyrical sound in the middle register, and a very tender sound in the low . His voice is built on infinite taste, with an overall inflection of sex . He points everything he does from a sexual standpoint". Despite his heavy New Jersey accent, according to Richard Schuller, when Sinatra sang his accent was "virtually undetectable", with his diction becoming "precise" and articulation "meticulous". His timing was impeccable, allowing him, according to Charles L. Granata, to "toy with the rhythm of a melody, bringing tremendous excitement to his reading of a lyric". Tommy Dorsey observed that Sinatra would "take a musical phrase and play it all the way through seemingly without breathing for eight, ten, maybe sixteen bars ." Dorsey was a considerable influence on Sinatra's techniques for his vocal phrasing with his own exceptional breath control on the trombone, and Sinatra regularly swam and held his breath underwater, thinking of song lyrics to increase his breathing power . </P> <P> Arrangers Nelson Riddle and Anthony Fanzo found Sinatra to be a "perfectionist who drove himself and everybody around him relentlessly", and stated that his collaborators approached him with a sense of uneasiness because of his unpredictable and often volatile temperament . Granata comments that Sinatra was almost fanatically obsessed with perfection to the point that people began wondering if he was genuinely concerned about the music or showing off his power over others . On days when he felt that his voice was not right, he would know after only a few notes and would postpone the recording session until the following day, yet still pay his musicians . After a period of performing, Sinatra tired of singing a certain set of songs and was always looking for talented new songwriters and composers to work with . Once he found ones that he liked, he actively sought to work with them as often as he could, and made friends with many of them . He once told Sammy Cahn, who wrote songs for Anchors Aweigh, "if you're not there Monday, I'm not there Monday". Over the years he recorded 87 of Cahn's songs, of which 24 were composed by Jule Styne, and 43 by Jimmy Van Heusen . The Cahn - Styne partnership lasted from 1942 until 1954, when Van Heusen succeeded him as Sinatra's main composer . Unlike many of his contemporaries, Sinatra insisted upon direct input regarding arrangements and tempos for his recordings . He would spend weeks thinking about the songs he wanted to record, and would keep an arranger in mind for each song . If it was a mellow love song, he would ask for Gordon Jenkins . If it was a "rhythm" number, he would think of Billy May, or perhaps Neil Hefti or some other favored arranger . Jenkins considered Sinatra's musical sense to be unerring . His changes to Riddle's charts would frustrate Riddle, yet he would usually concede that Sinatra's ideas were superior . Barbara Sinatra notes that Sinatra would almost always credit the songwriter at the end of each number, and would often make comments to the audience, such as "Isn't that a pretty ballad" or "Don't you think that's the most marvelous love song", delivered with "childlike delight". She states that after each show, Sinatra would be "in a buoyant, electrically charged mood, a post-show high that would take him hours to come down from as he quietly relived every note of the performance he'd just given". </P> <P>--Nelson Riddle noting the development of Sinatra's voice in 1955 . </P> <P>--Barbara Sinatra on Sinatra's voice and musical understanding . </P>

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