About & Our Criteria

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Vocal Analyses



This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an all knowing expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. We encourage healthy discussions about technique! Thank you.


This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussions are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here is talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.


A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing.

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.


The new labels on the blog will classify vocalists and label them within their own stylistic choices, vocal register development, supported ranges and where their strengths lie. This isn’t to say anybody is better than anybody. This will merely classify them within their own styles. A vocalist may fit into more than one category at a time.

MH Vocalists: Mid-Range Head Voice Vocalists

Vocalists in this category haven’t developed their head voices very high but are able to use them within a relatively low to mid range in their voice type’s tessitura. They maintain connection at will and are able to access their head voices at will.

Sopranos: Up to at least D5 up to G5/G#5
Mezzo-Sopranos: Up to at least C5 up to F5/F#5
Tenors: Up to at least A4 up to D5/Eb5
Baritones: Up to at least F4 up to Bb4/B4

HV Vocalists: High Head Voice Vocalists

Vocalists in this category have developed a relaxed and open sound in their head voices. They can manipulate dynamics, qualities within their head voices, they maintain supported qualities and manipulate the placement in their head voices well.

Sopranos: Starting Around A5
Mezzo-Sopranos: Starting around G5
Tenors: Starting around E5
Baritones: Starting around C5

MB Vocalists: Mid-Range Belters

Vocalists within this category generally perform the best within their mid-belting mixed voice range. Once they go high, they might have issues with keeping their throats as opened as they were in their mid belting ranges. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Up to at least C5 up to D5/Eb5
Mezzo-Sopranos: Up to at least Bb4 up to C5/C#5
Tenors: Up to at least G4 up to A4
Baritones: Up to at least Eb4 up to F4

HB Vocalists: High Range Belters

Vocalists in this category perform best and have the most ease within their upper mixed voice ranges. They are able to keep an opened sound without losing tone quality, without losing support and without losing volume while still being relaxed. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Starting around E5
Mezzo-Sopranos: Starting around D5
Tenors: Starting around Bb4
Baritones: Starting around F#4

M Vocalists: Mid-Range Vocalists

Vocalists in this category are those with relatively narrow supported ranges, whose strengths lie in singing within an octave of their range without going too high or too low too often. They generally keep support within a mid one octave range, but outside of that strain can become more apparent and intense.

Sopranos: Falling somewhere within A3/Bb3 ~ Bb4/B4
Mezzo-Sopranos: Falling somewhere within G3/G#3 ~ G#4/A4
Tenors: Falling somewhere within E3 ~ F4/F#4
Baritones: Falling somewhere within C3 ~ C#4/D4

ML Vocalists: Mid-Low Range Vocalists

Vocalists in this category have somewhat developed their lower ranges, but could still further develop the strength in the vocal cord development, projection, support and connection as they descend lower in range.

Sopranos: Going down to about G#3/G3
Mezzo-Sopranos: Going down to about F#3/F3
Tenors: Going down to about C#3/C3
Baritones: Going down to about A2/G#2

LR Vocalists: Low Range Vocalists

Vocalists in this category generally develop their lower ranges well and are comfortable singing lower than most within their voice types. They have developed chest voices, sung without tension, with connection, projection and ease.

Sopranos: Anywhere starting on F#3 and below
Mezzo-Sopranos: Anywhere starting on E3 and below
Tenors: Anywhere starting on B2 and below
Baritones: Anywhere starting on G2 and below

S vocalists: Stylistic Vocalists

Vocalists within this category usually prefer to sing in a specific specialized generally breathy way, narrowing their genre to keep themselves true to their style. They can often prefer breathiness, soft singing, throatiness and falsetto over singing with more connection and belting with more openness/roundness in tone.

C Vocalists: Commercial Vocalists

Vocalists in this category lack in terms of clarity of tone and overall management of airflow. They don’t necessarily prefer stylistic qualities like breathiness or soft singing. Instead they prefer to sing in a way that’s specific to their own music only, preferring to sing with high larynxes, or more air pressure, etc.

MA Vocalists: Melismatic/Agile Vocalists

This category is exclusive for the vocalists who have learned to how to properly move their vocal cords from note to note, at the center of pitch, with precision, control and ease. They have flexible vocal cords that respond to changes in pitch without sliding through them, but instead hitting each single note at a time with accuracy.

WR vocalists: Well Rounded Vocalists

Vocalists in this category have developed their ranges to sing within a variety of genres and styles while keeping a strong connection between their vocal cords and air management to sing with minimal strain within a wider range, from chest voice to mixed voice to head voice. The development of each of those registers should be both consistent and balanced.

For further question you can check our “The Team” page and contact us directly if you’d like.


Ahmin & Pandayeu




10,242 thoughts on “About & Our Criteria

  1. Can you analyze my Vocal cover? I’m new at singing the song in English and I was super nervous. You can probably tell. Also, I messed up in the middle and end but, I just want to know what you think of my singing..


  2. Hi! I have a question to ask, but please tell me if this isn’t the right place to ask it.

    So I recently made a video talking about EXO’s main vocalists to dispel the ugly myth that EXO can’t sing. I went in depth and kinda did an analysis for all three, but the problem is that now people are criticizing me for only including the vocal trinity. They want me to make an analysis for every single vocalist in EXO! I got flack for not including the “fourth member of the vocal line” Suho, as well as not including Xiumin, Kai, and even SEHUN! Now I’m considering making a second video to showcase the lead vocalists’ vocals, but since there’s no vocal analysis for the other members, I don’t really have any material to work with. Plus, I would hate to break the news that EXO’s lead vocalists and vocalists have rather weak technique, so I don’t really want to lie and say they have good technique when they don’t. Would you recommend me to make the video anyway and try to make my own vocal analysis (remember my Chanyeol analysis), even though I’m no expert and I’ll probably get many things wrong? Should I sugarcoat and try to mention as many positives as possible (even about Sehun, yikes)? Or should I set up a clear boundary that I can’t do more than this? If I am to make the video, could I get some help from you guys? Thanks!


  3. Wasn’t sure where to put this so I’m just dropping this here since I couldn’t reply to Ahmin’s comment in V’s analysis thread and it was more of a general thing anyhow.

    quote [I know indeed people misuse information which is why I don’t like to answer questions saying “this vocalist is better than this one.” I try to answer more vaguely or refuse to answer altogether]

    That reminded me of a suggestion I had for the FAQ section or somewhere more visible if that is even possible(because we all know some people hate reading things that they really should read unless it jumps out at them. Maybe something stickied above every comment section if that is possible here like I see on some other sites I frequent). Anyhow, I noticed that vagueness quite a bit and was slightly disappointed since as a more casual fan the comparisons do help me quite a bit if they are of singers I listen to a lot so I can maybe get an understanding of what is different where. I can see how that could cause problems so I was wondering if something like a disclaimer saying that any comments/comparisons on vocalists who haven’t had full analyses done are just off your personal knowledge of them or what you hear in a specific clip and shouldn’t be taken as anything official. That could allow you to comment more on other vocalists(if you wish to) and should hopefully help deal with any potential backlash/fanwars(Who am I kidding right?). Anyhow just an idea I had. Hope my thoughts at least gave you a smile while you were reading this. As always I appreciate what you do


  4. Hi Ahmin, I wanted to see if you can critique me again. I tried to sing this using my actual voice. instead of trying to imitate Buble I converted what he was singing to what my voice can actually do. Is this the right way to sing for me or am I way off?


  5. Hi Ahmin! I was wondering if you had any tips for how to not get lost during a key change when you don’t have perfect pitch? Some songs are easier than others, but some of them I seriously get lost in. For example, the transition from the pre-chorus to the chorus in Red Velvet’s Automatic, I can never get the right notes on “I love the way you…” (it doesn’t help that the background instrumental is so bare haha)


    1. I personally would just keep on practising! Of course not with the backing track directly, that would be way too rash. I would try acapella, slowly, and maybe with a tuner first, and then accellerate the tempo. And if it doesn’t work acapella, I would slow down the song and try to sing along. You could also find out the notes on a piano/piano app and play the notes as you sing. That would be easier since you can take the time you need to for each connection. And if that doesn’t work, I would stick to easier songs first and practise until I think I can go onto more difficult songs.


  6. Ahmin, can I ask whether whistle register is present in all of us? I read in Wikipedia (yes I know it’s not credible) that all women possess whistle register while only a small percentage of men have whistle register. Is it true?


  7. Hey I was wondering if you guys know by any chance if momo is a mezzo, i was listening to their new japanese song, and she seems to have more presence than tzuyu and jungyeon when singing along the same notes, also I’ve always thought of her voice to be kind of deep when she speaks. and is there any other members who might be mezzo as well, i’ve seen some people mention tzuyu might be one,


      1. I highly doubt Ahmin said anything about Momo because she’s a dancer, so I doubt he took the time to watch something from her and think about it critically. But if you can find what he said, ok, but I don’t think he said anything. Anyway, given what I know about Momo no not at all.


      2. Yep, I still keep the screenshot of when he said so. Maybe he referred to the Momo of Sixteen because she had a different vocal approach?


      3. do you know if tzuyu is? I didn’t think so, but since i was wrong about momo, now im wondering about tzuyu


      4. I don’t believe she’s a mezzo either… Whats with everyone wondering if these non vocalist with very poor technique are mezzos or not. I don’t think I’ll be answering anymore of these questions.


    1. He said that Momo is near to support, even better than Eunha. And I shocked very much. Though Eunha doesn’t support at all, but I think she has something better than Momo


  8. Is it easier to execute run when you place voice at mask and nose? And is it possible to have resonance while doing runs?


    1. It’s easier to execute runs when you place the sound forward, if the sound is forward and you’re using a “lighter” approach runs are easier. Of course you can be resonant while doing rubs.


  9. How can I sing high notes while lifting the soft palate? Doesn’t it prevent the air to flow into the nasal cavity?
    Or is it that I need to loft I on the chest voice only?


  10. Hello! I really want to improve how to sing, but I’m not sure where to start. I’ve looked at Ahmin’s Kpop Fan Tips videos and am doing my best to follow them.

    I’d like to know what are some good warm ups to do every day that don’t take up too much time.



  11. I have problems with vocal stability. When I try to mix lighter lower notes in the mixed range, I tend to crack. Is it something that would improve just by singing all over again for the cords to get used to taking it or there must be some kind of exercise for it?
    Thanks for your help!


  12. Can you give some analyses on these links below? I want to know what my strengths and weaknesses are. Plus, I’m not exactly sure what my voice type is, a mezzo or a soprano.


    1. Hi Julianah, I’m not the admins of this site, but your first one seems like you’re singing in falsetto for the high notes. on the low notes it’s just the wrong technique. If you calm down I think a lot of your problems would be fixed. you sound more in your range on the higher notes even though it was falsetto. I can tell you have a really nice voice for singing , you just need to relearn your technique or get some help with it. I think you have the normal range for a girl. There’s some pronunciation that’s off, but like I said most of your issues is because you sound nervous, you’re actually trying to sing too fast. slow down your notes, relax your shoulders and body, extend your notes, this song is sung almost like she’s speaking to someone. you really have the potential to sing really well, your voice is nice

      Liked by 2 people

  13. Have you written the updated of SoHyang’s analysis and Yuju’s analysis, Pandayeu? It’s 2 years since I started to wait for Yuju’s analysis lol


    1. Well, oke, continue to wait lol
      Are you familiar with Yuju’s lower and upper register? Can you tell me whether she’s consistent on G3/G#3 and F5/F#5 or not?


      1. I’m uncertain if I want to call her G3/G#3 consistent quite yet, but I know for certain that her F5/F#5 is inconsistent and that she strains above C#5 more often than not.


    1. i can aswer this i think, the analysis for yoseob and damn somehow i forgot the name but the one that left the group, are both posted in the site, now the other ones are among the lines of weak or weak to average, so they are not skilled enough to be exempted from the “only the strongest half of the vocalists will be analyzed” rule but if they ever become skilled enough they might be exempted


  14. Maybe I can’t find it, but why don’t I see an analyses of Kwon Jin-Ah? I vaguely remember Ailee being at the top of the ranking list and Kwon Jin-Ah, at least to my untrained ears sounds like she is even better. There’s a lot of her videos on youtube, the ones where she is in a singing show with the judges (jyp and yg I think?) is really, really good. Please let me know if you’ve even heard of her.


    1. I know of her and I checked what I said in the past about her and I remember not thinking she can handle keeping an open supported sound above C5, which is not very impressive for a soprano. But yeah she was never analyzed, so that’s why you don’t see her analysis.


    1. I think you should rather link a live performance, I have seen the admins a lot of times saying they don’t like judging from studio recordings


      1. I do remember ahmin saying that Justin Bieber MIGHT be a baritone…I think Mrskinnyjeanz said that Shawn is a baritone(not entirely sure) and Charlie Puth sounds like a baritone to me,so I hope ahmin corrects me if I’m wrong.


  15. Can you sometime post a video explaining where(and kind of how) to place the sound while singing vowles in your chest/mixed/heavoice to create resonance?
    Maybe the usage of a cross- section of the oral tract would be very helpful 😀

    Thanks a lot! And keep up your good work.


  16. How did Yuri in here??? i always read that in the past ahmin said Yuri and Sooyoung had better support than most of sub-vocalist? Did Yuri support A4? (Even in Minah’s article ahmin said she can be average vocalist but i knew it was a mistake. her lower range is not bad tho)


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