About & Our Criteria

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Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

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 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. Thank you.

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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 discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are 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.

TERMINOLOGY

Tones/Semitones/Notes/Key
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.

Intonation
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.

Vibrato
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.

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

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

Support
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.

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/Musicality
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.

Legato/Staccato
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.

Agility
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.

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

Great 

  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Proficient 

  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey, Natalie Weiss and Whitney Houston as amazing/fantastic). They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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6,963 thoughts on “About & Our Criteria

    1. I honestly can’t answer because they’re both not very skilled vocalists. Both have many issues with basic technique, lack of proper breath support, lack of proper vocal cord connection, lack of pitch, lack of proper placement.

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      1. The answer is the same as before. Every sub vocalist of every idol group that I know or at least 99% of them are all weak vocalists, which is why we don’t analyze them.

        Liked by 1 person

      2. Really? Three of them? WoW. I asked that because i read that you just write Nayeon/Jeongyeon ( I didn’t confuse about Jihyo). So, i think you will the stronger one from both. But, if you said like that, so thank you

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      3. I thought that the hint is Miss A :v
        (It means that the Main isn’t stronger than another vocalist)
        But, in the reality, our conversation it’s not a detective genre.

        Can I ask again?
        Who is the stronger one? Sejeong or Yeonjung? Because they was in same group (I.O.I)

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      4. Comeback. Did you know me before? I asked you about my voice in youtube before.

        Can I ask you again?
        https://m.youtube.com/watch?v=BzhlvR047Ao 161225
        https://m.youtube.com/watch?v=Nbb0igf1_YE 170319

        1. Did I improve? I think in my latest video, i have a lack in Yuju’s high note. True? What kind of that? Strain or airy?
        2. Can you give suggestion? Because sometimes my voice seems heavy and deep but sometimes sounds light. Is it because my wrong technique ?

        Respond juseyo :3

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      5. Dear, I really wouldn’t advise you to sing in Korean especially if you don’t speak it fluently and you have to sing it while thinking about how to sing the words properly. Your accent gets in the way. 1:07 your timing is a lot less smooth in this new cover, your voice is clearer, the mic seems better. But in the pre-chorus and chorus you’re pushing the beat, you’re ahead of the beat. In other words, you’re singing too fast and you’re not singing at the right timing. The verse was mostly okay, but everything else you sounded like you were not in the right rhythm of the song at all. I would advise you to sing a song that’s slower, that is narrower in range and that is in a language that you can speak, since your vowels are too closed for this and it’s hard to explain when it’s not your native language. Yuju’s high notes, when you sang them you’re straining by pushing too much air and you didn’t go high enough and you kept falling flat. I appreciate that you sang the same song, but I’d rather you sing a simpler and easier song instead of this.

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      6. Thanks for your comment. I understand now. Thank you for give me advise . I really happy for that ^^. I will try again .-. . But, please don’t bore. And then, just reply when you have the time ._.V . It’s enough. Bye ^^

        Liked by 1 person

      7. I still hear some issues with timing, also your vowels are nasal and narrow. You’re not dropping your jaw enough and you’re not enunciating clearly. I think it might be cause this song is not originally in Indonesian, so the lyrics might not match. The song is better though, work on your timing and diction though.

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      8. When i thought again, beside you’re vocal trainer, you’re letter trainer too :3 . Right? It seems like you know IPA ._. So, you know that my vowels was nasal and narrow. I am as the unexperience person (?), say woah about that ^^

        Because i’m not expert like you, my main question is :
        How if I sing in Japanese song? Because i see the way Japanese person pronounce the letter like Indonesian person ._. Correct me if i was wrong. Because i have personal reason about that :v. Can i have your suggestion?

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      9. IPA? International phonetic alphabet? What do you mean? Well diction is directly related to singing. Japanese is relatively easier to pronounce because it’s mostly pure syllables, so it’s easier to sing in however if you’re still thinking about pronunciation over your singing, that will take away from your overall singing ability. If you’re comfortable with a song 100% where you don’t have to think about the lyrics, then it’s fine.

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      10. Oh :o. I was wrong again ._. I misundestood with your position. How bad i am. I am so sorry. I thought that if you mention about my vowels, it means that the singer should know the pronunciation too. I trapped in unlogical situation.

        Ok, i’ll try again. Btw, sorry if my English skill isn’t perfect :3

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      11. Well no you’re not correct. When you’re singing you should also know the pronunciation, that is a given but it’s just related to singing itself.

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  1. Any tips for singing above your first passagio as a male? I’m a bit of a lower baritone, and mixed voice has always been a struggle for me. I think I try to push too much chestiness into it, and this makes my throat get really tight. And whenever I try to brighten up, my vocal cords start to disconnect and I become breathy. It may be because my head voice muscles are too weak in comparison at this point.

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  2. Hi! I’m really sorry if this has been asked before but why aren’t BTS’ Jimin and Jin eligible for vocal analysis? On another note, thanks for running this blog! It’s been really informative and interesting ❤

    Liked by 1 person

  3. I wanted to ask about some things:

    1. You know sometimes a part of the song, let’s say for an example a Bb3 –> an Eb4 sustained, but the song requires it to be executed with a quick D4 before the sustained Eb4. So it should be like Bb3-quick D4-Eb4 sustained right? Sometimes when I listened back to my recording singing that part, I can hear myself singing from Bb3 then to Eb4 immediately without the D4. If you managed to understand, may I ask if this is a legato problem, a problem where you can’t connect notes? like I can’t connect Bb3-D4-Eb4 instead I went from Bb3 jump straight to Eb4. I hope I make sense…

    2. Another thing is I want to ask is, is there something like you being able to sing high while you’re excited? Last night I went to the karaoke with my friends and they chose those rock songs with high belting. I don’t rmb all the songs sung but from the ones that I rmb, I checked the notes and I actually hit multiple A4s. Just saying, I’m probably a baritone, I feel comfortable singing at the upper part of the 2nd octave and I think I speak at the 3rd octave? I think I start to learn mixing (i think) after discovering this blog and normally I can constantly mix till F4/F#4? After that I’ll sound like I’m dying and the notes are probably super flat not on pitch lol, so I’m kinda surprised I can constantly hit A4s and I don’t think I switched to falsetto either. Have you experienced this kind of situation? What’s your highest mixed note?

    There’s another observation I want to say that is, I see cases where in some groups where the main would have basic support down and the lead doesn’t,but both of them still take the challenging parts of the song. Generally the main is just significantly better than the lead, but one thing is, the main gets tired quick but the lead doesn’t, you know what I mean? When the main gets tired, he/she will prefer to use more head voice/falsetto instead of belting, on the other hand the not tired lead can continue belting, in this case they’re singing in the same high range. Thus this often leads to fans believing that lead is better than the main, since the lead can handle strain better. I always wonder why better vocalists don’t have better stamina than the leads lol and why does leads can handle higher passages better… since if they don’t support, they’ll be shouting right?

    Sorry for long post :目

    Liked by 1 person

    1. 1. I really would need a specific example for this like a song where it happens and then perhaps an audio as well because I’m not sure I can think of a reason with this much information provided. If it were the other way around where there was no D, but you add the D to get to the Eb, I would understand but cutting it off is a bit odd in my world of logic.

      2. Yes but I wouldn’t call it excitement as much as I’d call it a mix of high stamina, plus confidence, plus lack of tension or you psyching yourself out AND of course the fact that you are singing with others which means you’re less self conscious and you might strain a bit more so than usual without holding back. My highest mix is usually Bb4 or B4.

      3. I would need again a specific example for this because this can vary from a person to another. Everyone has different resistance and some people can handle strain more so than others. Other times it’s how they mix. I mean I can support higher than Sungjae but Sungjae can strain higher than me more consistently than I could, whereas I’d resort to head voice where he would strain more often. That’s because he has a more trained mix on the higher notes whereas my muscle memory isn’t very strong above G4/G#4, so for me to constantly sing in that range is hard since I don’t sing in that range often. So this could be true for others as well.

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  4. I read your answer about Eunha’s perfomance and I’d like to ask if Sinb did better than her? It sounds like she’s more connected than Eunha but she still sounds shallow.

    She starts singing at 1:03

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    1. I am sorry, I don’t mean to be rude but it is a bit annoying to be asked questions about two weak vocalists and trying to say who’s the slightly less weak one of the two. 1:31 she is also nasal, also flat, also unsupported, also shallow. She is shaky, her vibrato is wobbly, she just isn’t singing with such a high larynx girly approach from the beginning, she approached it more naturally but to say she did better than Eunha? That’s being really nitpicky. There’s nothing to be praised for either performance, so I’m sorry but I won’t try to find the smallest of things to say one did slightly better than the other when truthfully neither of them did anything worthy of praise at all.

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  5. Hiiii this is Not kpop but Are you familiar with cimorelli ? They are 6 sisters who do covers on YouTube and I’ve been a fan of them since forever they inspired me. So someone posted there vocal ranges on YouTube I’ve never been curious about it but I’m interested in understanding singing now. The ones that I wanna know about the most are lisa Lauren and dani I’ll give you the links
    Here lisa https://m.youtube.com/watch?v=A1mX4v5EOrg
    Lauren https://m.youtube.com/watch?v=-7yDsKy0phg
    Dani https://m.youtube.com/watch?v=cxszBb_YQkE

    This what I think they support (99% I got it wrong I knooow but it’s a pure guess) correct me if I got it wrong (:

    Lisa: A3-G#3 / C#5 / G5

    Lauren: A3 / B4 / F5

    Dani : E3-F3 / Bb4 or even lower / E5

    Also dani is a mezzo soprano right?? I think Her voice is too deep to be a soprano. Thanks anyway I love your website ❤️❤️

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    1. I’m sorry. Although I really appreciate that you’re trying to learn more about singing we do not have the time to spend answering video questions on vocalists we won’t analyze, so if it’s not a K-pop vocalist and we aren’t familiar with them, we don’t answer video questions. I will answer two things though, Dani is not a mezzo, at least she does not sound like one and I don’t believe she supports below A3 cause all I heard was a lowered larynx and no projection in her chest voice. I only listened to her to make sure if she were a mezzo or not cause that takes less time to check right away than finding out 3 girls’ supported ranges. Sorry about this, it’s just one of our rules.

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  6. No it’s definitely fine. But I think i just had an idea that deep=mezzo light=soprano .. thanks for replaying 😅😅💜 but what about Lisa mixed range is it above the average cause she doesn’t seem to struggle

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    1. This still remains in the non answerable video thing but I would suggest getting more familiar with what deep means, and mezzos.

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  7. Which interval do Mina and then Jihyo sing in TT? I only understand A4,then they sing something low. lol sorry for asking something stupid like that but i couldnt understand
    0:25 for Mina
    1:39 forJihyo

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    1. It was an octave, if you meant the interval. If you mean the note it’s A3, but it’s clearer when Mina sings it than Jihyo. Jihyo almost avoided it.

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    1. Why would you assume such a low rating would be fit for him? There’s no rating below weak to start with, he couldn’t be lower than that. If you’ve read any of comments we’ve made on the NCT members, you’d see all three of them, Doyoung, Jaehyun and Taeil are capable of supporting which means none of them are weak vocalists. People have also already posted both of these videos, but I’m not sure I’ll find Lost In Love. They’ve posted youtube links, I knew how to find this one:

      “He sounds well supported and relaxed throughout the first verse and chorus, he doesn’t really have any issues within that range, he only mixed as high as F4. 1:25 then the strain came afterwards with Bb4’s and 1:33 D5 and the E5 right after. Again it’s high for a soprano to be able to handle these notes, so to expect a tenor to sing those notes well is not reasonable at all. I’ve seen this video before, it’s not the first time it’s being asked about. So he is not singing the notes perfectly at all, but it’s understandable for some of them.”

      To find out what his final rating is, wait for his analysis please. ^ ^

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  8. Hi ~~

    1. Can somehow straining hurt my other part than vocal cord? I know it’s weird to ask this but a few days ago I was singing with my friend and I hit a G4 for like 3 sec and then my mouth ached so much (Normally I can sustain G#4 longer, with strain ofc). Can chestiness or too much pushing hurt?

    2. About mixing high note, when I tried to open my throat in a downer way my notes get locked back and it’s often flat and throaty, but when my throats open in an upper direction the note is precised with nasality and high larynx (I warm up and even yawn before singing). How should the throat be positioned? Since it’s only organ that I can feel the movement beside larynx.

    3. Can short tongue or long tongue be a big obstacle in singing? My friends often say that my tongue is too long and I myself feel the tense while singing because of the vowel. Is there something that I can do to deal with this problem since apparently I can’t shorten it.

    4. Is asking many questions at a time disturbing or annoying for you?

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    1. Hello dear~
      1. Yes strain can hurt your throat, swallowing muscles, jaw etc. since you’re tending up the muscles, it tires them out and makes you feel sore.
      2. How is your throat opening in different directions may I ask? Are you referring to the larynx movement? If not, then how do you feel this?
      3. Yes a short is not a big problem but a long tongue can be difficult to monitor and control. Usually the positioning of it would be slightly above your bottom front teeth as opposed to behind them.
      4. Not necessarily, if they’re something I’m able to answer.

      Like

      1. 2. Well I must have been mistaken with the movement of larynx so when trying to sing high notes and keep my larynx neutral at the same time my notes are generally flat.
        3. So this means that my tongue should be above my bottom front teeth or behind it? Because I don’t really understand when you say “usually” whether it’s usual for me or people with normal tongue.
        5. Is this vowel ‘a’ the most natural vowel for human? You said the last video that babies can cry for days because they always aaaaa instead of eeee or iiii, and I feel the easiest singing notes with vowel a, especially high notes, because my mouth opens as wide as possible. Is there some way to sing other vowel as natural or easy as ‘a’?

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      2. 2. Perhaps you’re pushing the sound instead of keeping the larynx neutral and you might not be placing your sound high enough, which causes you to be flat.
        3. It should be slightly above them curved, since your tongue is apparently bigger than the average person.
        5. Not necessarily the most natural vowel since it depends on what vowel is most comfortable for you. I prefer the Aye vowel personally, but that’s me. Wide? Don’t. Do NOT open your mouth wide, that’s the opposite of what you should do. Your jaw should be dropped and your mouth should be opened that way, not wide, not to the sides. Of course, after you develop your best vowel, you copy the shape of your throat while changing the vowel sound to another vowel. That will help you keep the new vowel as opened and relaxed as your most opened vowel. Professional vocalists have minimal changes in vowel shapes inside their throats.

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  9. Hi there, I’m a massive fan of your work on this site! I have a very general question which you might be tired of answering and/or may have answered plenty before, so forgive me if that’s the case 😦

    In your opinion, is it truly possible for anyone, especially those who naturally have lesser vocal ability, to become a decent singer through dedication and practice? “Decent” is very subjective, but I guess I could mean this to be anywhere between above average to good on your vocal ranking spectrum?

    We hear that for sports, music/art and other skills in life, it is definitely possible to come close to mastery (the 10,000 hours of meaningful, purposeful practice idea). Of course, we can’t deny that innate talent can make the journey easier and the end level to be higher.

    However, I’ve always come across conflicting ideas for singing. Are we really restrained by our genetics, or is this really just a bullshit myth?

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    1. There are questions that I get tired of answering indeed but questions like this usually feel like you’re asking because of something of yourself and in this case I never get tired of saying that as long as you practice the proper way and effectively, anybody can improve with the right instruction. It’s just a myth as far as I’m concerned but indeed some people can be learning challenged but it just means it will take them more time, if it’s something they really want.

      Like

  10. Since I Saw some comments about Mina I Would like to ask if Mina Would be the next best Vocalist out of Twice? If you dont know about their Sub-Vocalists its totally ok! Thx and have a Good day

    Like

    1. Quite a few times actually. I have a proper answer typed out:

      “The gap between DK and Seungkwan is pretty noticeable. They both have support, they both have clean clear support in their voices, which already sets them apart from every other vocalist in Seventeen. None of the other ones can support almost at all, only DK and Seungkwan have that managed and learned. The difference between them is that DK sings within a narrower range and doesn’t usually mix very high. He stays within a pretty narrow range and tends not to strain too much because the higher notes are given to Seungkwan but in the following examples I’ll show you, you’ll hear the difference. The difference is DK seems to have a slightly better lower range than DK, with a bit more support but his support is indeed limited only up to F#4, above that he becomes tight, shouty and strained. Whereas Seungkwan maintains a lot more support and a better more opened approach up to F#4 and even above, up to G#4. Now that is also enhanced by the fact that DK is unable to produce resonance whereas Seungkwan produces it quite consistently. So the gap between them is pretty clear, Seungkwan has better technique than DK without a doubt. Now whomever you like more, that’s up to you and entirely up to you. People have some sort of problem with objectively saying someone is better than someone else and confusing that with liking someone more than someone else. If the other people you know like DK more, that’s fine. That’s a preference, not an objective acknowledgment of vocal skill and I hope you all know this.

      “I remember Ryeowook mentioned something about DK singing a part of the song correctly in pitch that Ryeowook couldn’t get right in studio. 0:40 that was a loud breath into the microphone lol It startled me a bit. 0:51 quick Bb2, not good but just noting. The rest is above F3, he sounds comfortable aside from some nasality. I hear some more airiness than before but it’s just for the sake of the song. 1:23 quick G4, tight. 1:27 that F4 was tighter than it needed to be. 1:30 his mouth is not opened enough, his jaw is locked and he’s not allowing it to drop to open up his singing more. His falsetto transitions aren’t bad, but there’s a noticeable drop in tone quality. His G4’s all sound tight throughout the choruses, which again isn’t news to me. 1:50 I hear more support here on those F4’s, 1:53 shouted but better jaw position. His pitch is more or less correct throughout. 2:41 2:43 2:44 he tries WAY too hard for those G4’s, they shouldn’t be as hard as he makes them sound like they are for him. He needs to relax and open up, those are just G4’s for him, that’s not supposed to be that difficult. This song has too many G4’s for him, that’s not song I’d like to hear from him. I’d rather hear Seungkwan singing this cause he could handle the G4’s. 3:45 That was really strained, he just shouted that Bb4. He knew though, that it wasn’t comfortable for him. The rest of the song he sounds tired like this song was a lot of work and he’s pushing his way through the rest of it.”

      “Seungkwan is singing in quite a comfortable range for him, 0:52 slight tightness around those G#4’s because of the vowel he was singing, but he sounds relaxed and supported throughout his part. Woozi sounds a bit too thin, a bit too airy. Even though he’s singing softly, he is using his throat a lot more than fully relying on his vocal cords in order to sing. I am not sure who’s singing the most in the chorus, but they’re singing up to G#4, I’m going to guess Seungkwan is the one handling it because it sounds like him. 1:49 DK sounds just fine as well for now, he sounds relaxed, this is a comfortable key where he can support comfortable. 2:11 and he used falsetto instead of mixing the G#4’s, which kept him from straining his voice in this range. Junghwan and Joshua also have the same issues as Woozi, with using their throats too much even within a reasonably low range due to lack of support. 3:08 his voice is kind of stuck in his throat and nose, which make him unable to project and maintain the pitch. 3:26 tension in this range, DK sounds tight up there above G4 but it’s not too bad. He likes to use his falsetto. 3:53 tightness on the Ee vowel, but that’s usual for most vocalists. 4:09 closed throat C5, very tight, high larynx. I mean reasonably speaking, within the lower part of the song, DK and Seungkwan did relatively well, Seungkwan can handle singing up to G#4. The rest of the members still lack true support, but that’s been established before.”

      “SeungKwan controls his voice really well when singing softly, that was pretty relaxed and stable, the beginning. 1:05 slightly tight in that part. That is a very comfortable one octave range, F#3 ~ F#4 for the most part, 2:19 A4 with some tension, he cracked shortly after so he might not have been well warmed up prior to this. He has very stable support throughout. 2:40 ish around that after, he has good placement. 2:50 good placement, but a bit pushed out. In the second clip he is singing airy and soft on purpose, but he is complete in control of his voice, he has very good pitch overall. His transitions into falsetto are nice too.”

      “Fifth time I’m asked about this.. lol
      I’ve seen this video before, it was shown to me. Both of them have very nice and forward tones, very nicely supported, some strain and tension happens in the higher parts but they can switch well enough into their falsettos. Their lower ranges are a bit overly quiet below E3 but they can carry some tone, they are at least average vocalists though so they’re definitely stronger than Kahi, Jungah or Lizzy.

      I shall not reveal any ratings before they’re analyzed. Please check our future analyses list as well, since I believe Seventeen debuted in 2015, which means they could be analyzed in 2017.”

      Like

  11. Hi guys. Hmmm.. I have a problem. Mostly i’m still confused to tell if it’s only support or it makes ressonance. Could you please tell me like the clue or the key or something that really can tell if it’s only support or make ressonance? I’ve read something theorically but like when i listen directly it still makes me confused lol

    Like

  12. Just want to say that I was quite surprised surfing through your blog and knowing that Key is a baritone. I just hear Everybody a few days ago and I can never expect Key as a baritone because he really hit those C5’s. Is there any songs I can hear his lower range? SHINee’s songs are always so high pitched.
    Oh and an unrelated question, I notice that my logo when commenting on this blog is always the same regardless of where I log in this page (home or shop or school) because I don’t have an account. How is that possible?
    This website has so many surprising things everytime I log in lol

    Like

  13. Hi Ahmin. I’m a long time lurker on the blog and I appreciate how much time and work you and the other admins have put into this. Thank you so much for your time and patience educating us about vocal technique. =)
    I was just wondering, do you think it’d be worth it to create some sort of “comments about ______” link (maybe from the Future Analysis page), or making the comments more easily searchable (if you can)? I constantly see comments about groups like Twice, G-friend, Seventeen, and BlackPink, many times the same questions/videos, and in the commenters’ defense, the answers are usually scattered throughout different pages and older comments. Some sort of FAQ until the analysis is written? Or do you like knowing how often groups are requested to help you prioritize?
    I could also see a project like that being pretty time-intensive.

    Like

    1. Unfortunately I don’t think we can make the search function available for comments but I think it’s fine for me to copy paste for now before the analyses are written since we’ve thought about this but I’m not sure how to create a FAQ for this, since it’d need its own new page. I prefer to just deliver analyses.

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  14. Guys, where would you rank Justin Stoney from NY Vocal Coaching?

    Also, he claims to be a Baritone, do you guys think so? Also, do you guys disagree on some of the things he say regarding technique and how the body works with singing? If so, which?

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    1. We don’t rank random people without listening to them singing an extensive repertoire of songs. I disagree with a lot of things he says, especially his video about the soft palate that basically talked about yawning, NOT lifting the soft palate.

      Like

  15. I’m new to this blog but I’ve honestly learnt so much already, and it’s actually pretty amazing how much technical detail there is behind ones singing technique. You’re doing a great job with this blog!

    So I have some questions, you don’t have to answer them, I’m just curious about these things:

    1) Everyone’s always said that Rosé is a really good vocalist, but I just can’t hear it? She just sounds shaky and strained, kind of like she’s singing through her nose, for lack of a better way of putting it. Is Rosé actually a good vocalist, am I just imagining things?

    2) So considering Eunha’s not being analysed, I assume that means she’s a weak vocalist, along with the others of GFRIEND? Also, would Yuju be Above Average, or perhaps Above Average to Proficient?

    3) Lastly, do you know who’s better between Seulgi and Jihyo? I understand they’re around the same level so it’d be hard to guess without an analysis, but if you had a rough estimate as to would be better it would be nice.

    Thank you so much!

    Like

    1. Hi there dear and welcome to our blog. ^ ^
      1) Who is everyone? Everyone sounds like a lot of people. Every group has fans and their fans always think their main vocalist is a really good vocalist. Black pink is no exception to this. No you’re not imagining things, you should just be careful whom you listen to when it comes to their opinion on a vocalist. If their reasoning is “so and so has such an unique voice” then you know they’re talking bout their personal opinion, not vocal ability.
      2) I ask that you wait for Yuju to be analyzed to find out what her final rating would be. ^ ^ But the assumption on the first sentence about Gfriends other vocalists would be correct.
      3) Again recently I’ve made a vow not to compare vocalists without their analyses being written, so I’m afraid I can’t answer. We will have to just wait until they’re both analyzed. Sorry about that.

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  16. Heeeey!
    I’ve read the rules so I won’t ask for some analyses that are not happening, but still. The ranking says Nu’EST BaekHo is a very high average, almost A-AA, and, since the group only has 2 vocalists (Ren is only a sub vocalist and Aron is mostly a rapper), Minhyun will not be analyzed. But do you know how big is the difference between Baekho and Minhyun? I know the last one is rather weak, but how weak?

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  17. Hello!
    I just wanted to know how Yuju did here.

    Fingertip has a very difficult choreography so I don’t expect her to do good on music show, but was she fine here?

    2:57 C#5(?) sounded pushed and a bit flat
    Her phrased C5s in the chorus sounded nice.
    3:13 Softly mixed/falsetto F5?
    3:20 C#5 sounded better than the first one.

    Like

      1. Yay! I wish they’d perform this song more often because compared to Fingertip, this showed much more nicer moments since it’s mostly below D5 except for that E5 but then it immediately turned resonant again after that lololol. And there was a nice head voice moment too.
        Such a shame she has to strain D5s all the time when she could have resonated C#5s a bunch of times in this song. On another note, I hope she’ll be consistent on resonating C#5.

        Liked by 1 person

  18. Hello, just 2 questions, please answer me.
    Is there any difference when I say someone places his sound high and someone use heady mix?
    What is the difference between heady mix and head dominant mix?

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    1. 1. High placement in sound has to do with the placement, heady mix has to do with the coordination of the vocal cords, in other words it’s not related to the placement but to the muscles used to sing.
      2. Heady mix and a head dominant mix are synonyms, they mean the same thing.

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  19. I was wondering if you have any opinion on Bruno Mars? I really like his music and I think he’s great, but at the same time I feel like he squeezes his throat a lot when he’s reaching some of the high notes?

    Like

      1. Yeah, I thought so, even my not too trained ear could catch it. For a moment I was thinking that maybe that’s how his voice was going to sound, but (mostly thanks to your site) I started noticing the mistakes. Thank you for the answer 🙂

        Liked by 1 person

  20. Were there any noticeable improvements with Seulgi after the ROOKIE era? (if you’ve watched her more recent performances that is)

    Oh and I hope we’ll see her analysis soon!

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      1. I never said that Rosé doesn’t support at all. All I’ve said is she doesn’t support consistently or properly. Jisoo doesn’t support period, that’s true but Rosé has moments. She is not that closed either, nasal? Sure, this only went up to A4, she didn’t really get strained or closed in this.

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    1. She sang within a fairly comfortable range, for the video that I watched where it was only half. She didn’t go higher than A4. She does have a lot of issues with nasality and not opening her mouth enough, so the sound is a bit slurred and nasal but overall she didn’t go high at all for her voice and thus she didn’t really strain her voice. She did have moments of tension, or lack of proper support but overall she was fairly relaxed.

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  21. Just wondering. Why jaw vibrato is saw common among opera singers/those who had practiced opera singing? I noticed that in Shannon, Sierra Boggess, Lea Salonga and even Ramin Karimloo.

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    1. Shannon is not an opera singer, don’t confuse musical theater with opera. Since when is Lea Salonga an opera singer? Was she classically trained or are you assuming based on her musical theater background? Sierra is also a musical singer. I think getting a few examples of vocalists who happen to be in the same genre and trying to find a pattern isn’t good cause I don’t believe it’s about their background, I think they just all happen to have similar bad habits.

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    2. My guess is because they often have long sustained notes and they like to add vibrato to those, however that’s nearly every other line in the songs that they sing so they just use a jawbrato cause it’s more efficient. (Also I’m lowkey sad that Ahmin didn’t mention Ramin lol).

      I mean not all musicals are classical-y but these singers have been known to have performed in Les Miz and POTO (or at least sung songs from there) and these 2 musicals are basically the most “classical” sounding as compared to other modern musicals like Spring Awakening, Newsies, RENT, to name a few.

      To attempt to sound more “classical” musical actors who perform in Les Miz and POTO usually have similar habits (be it bad or good). Jawbratos, lowered larynxes and resonance (sometimes natural, sometimes pushed) are all used.

      Well at least this is what I’ve observed as a Hadley Fraser stalker who downloads multiple different versions of songs from Les Miz lol

      Like

  22. Hello! I just wanted to ask when the next analysis will be coming out? It seems like there hasn’t been a post in a while?

    Also ahmin, I’m incredibly amazed by your ability to keep up with all the posts on this blog. Is this a full time job for you? How much time do you spend maintaining this blog in a week?

    Like

    1. I can’t promise when it will come out. We are busy with our own lives and so as much as I really want to find time to write my next analysis, I just have not had the time yet. Soon enough hopefully after this week I will have the time to analyze at least one vocalist. I have no idea how much time I spend and no if it were a full time job, I’d have more analyses posted every week lol It’s kind of a side thing, half…sort of. I don’t know, I’ve never measured.

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  23. how did Hani do here? I think this song really highlight her mezzo voice but I’m not really sure if she can really support, there are times where she kinda sounds shallow.

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      1. I didn’t answer this? That’s weird cause I remember watching the video… I don’t hear a change in how she’s singing. I swear this was asked about..and I answered.

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  24. have you heard of singer han dong geun?
    how is he doing roughly? i think he has good support? (in this vid not towards the end obviously too high for him)
    I think his songs are good for ears and his voice too haha

    attached video for his perf. at yoo huiyeol’s;

    thanks!!

    Like

  25. Ahmin, at 3:29 how’s her A5 here? I never heard she sings above G#5 live so I don’t know if it’s supported or not and 3:41-3:45 I believe the A5 & C6 are HV but the F6, do you think it’s HV too?
    And last, is it okay to ask about non k-pop vocalist too as long as there’s time stamp, I’m afraid it will annoy you in time XDD
    Thank you~

    Like

    1. It’s not badly placed at all, it’s slightly pushed but that’s because this isn’t Mariah in her prime. The thing is Mariah blends her whistle with her head voice well, so if she transitions it’s hard to tell since her head voice is always generally light and not full.

      Like

  26. Can you find out whether a vocalist has vocal nodule just by listening to their singing? Does Yuju have a nodule or it’s just tiredness or sore throat here?
    https://youtu.be/kUJ20F8WNLI 2:50, 3:00 and the last D5 in 3:15. I really hope their company gives Eunha and SinB’s some lesson so they can handle some high notes in their next comeback instead of giving them all to Yuju since she has had no vocal rest ever since debut.

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    1. Throatiness and pushing are not enough to say a vocalist has nodules. Only the 3:15 one was pretty throaty, the other ones were the usual strain. You’re overthinking by the way, don’t jump to conclusions about nodules. Nodules can be detected if I get to sit down with the vocalist. A mid part of their range will have disappeared if that is the case but the only sure way to tell is to go to a doctor, an instructor may not be able to detect it 100% so I would rather not jump to such a conclusion.

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  27. I don’t have any specific video to post but I think that you have seen some video of Pristin’s vocal line? Do any of you think that Sungyeon (Shannon), Yewon, Eunwoo, Minkyung does support? Might Sungyeon be the best in all of them? Might Sungyeon just be an average vocalist?
    Also, how do you think their debut song Wee Woo as a vocal expert?

    Like

    1. I have not heard their debut song but I’ve heard a lot of their pre-debut stuff. I’d rather rather not talk about their ratings but I shall copy-paste some answers for you:

      “Honestly speaking, it’s way too soon for me to tell. None of them have a lot of support going for them so I am afraid based off of these covers, I’m hearing more issues with throat tension, lack of support, nasality and singing with a high larynx, than actual good technique. Unfortunately Sungyeon is no exception, she does have potential and for now she might be the vocalist with the most skill but a lot of her singing is very much based off of the fact she has the ability to mix high and falsetto high even if she can’t support most of her high notes.”

      I have other comments but the videos have been deleted unfortunately:

      “Have you asked about them before? Like cause I remember listening to Pinky and Sungyeon singing recently and this isn’t any different than what I already thought of Pinky. She doesn’t support at all, she’s constantly flat, airy and she sounds shallow. She’s nasal and her vocal cords barely come together. Minykung has enough support, but she also sounds kind of shaky, kind of pitchy. Her pitch is wavering a lot, her transitions are almost consistently off key. Sungyeon is fine, except for her falsetto being slightly flat as well. They’re all only mixing as high as A4 throughout, this song is very repetitive and melodically narrow in range. It’s not a particularly good vocal performance, Minkyung and Sungyeon seem to support A4, Sungyeon’s the most consistent with airflow here. Pinky can’t support at all.”

      “0:42 and 0:48 she kept going down to F#3 and D3 0:58 same thing for Sungyeon. Neither of them are able to keep support down that, their voices kind of vanish. Minkyung’s is squeezed cause she pushes her larynx down, Sungyeon’s becomes pure air. 1:36 generally when Sungyeon sings she sounds a bit too whiny, slightly like she’s singing with a high larynx. In this case she’s going for a very soft and light approach, the airiness fits the acoustic vibe overall. 2:12 A4’s, they sound supported. They don’t really go above that with their mix, I heard E5’s in falsetto from Russian Roulette but that’s about it. 2:42 Minkyung’s support sounds less established than Sungyeon, she doesn’t keep her vocal cords connected enough. This was nice sounding, love the acoustic vibe, but not necessarily challenging or technically impressive. The lower range was too low for them both to handle.”

      Like

      1. Thank you so much, I really want to request them for your future analysis (maybe in 2019) but you re not receiving any requests right now TT

        Like

      2. I think this perfomance would be better to tell how skilled they are by now

        0:10, 1:28, 2:32, 3:08 Roa (Minkyung)
        0:24, 1:16, 1:54, 2:21 Eunwoo
        0:49, 2:30 Seungyeon
        1:05, 2:50 Yehana
        These are the main vocals, do you think any of them improved?

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  28. Thanks for the answer. Personally I think this song is more vocally challenging than only Glass Bead and she tends to use falsetto all the time so she can less damage her voice.
    1. Btw can someone speak with their head voice in low voice, like third octave? I always thought that head voice is only used when singing high but the SM vocal trainer in SSD said that he usually speak using his head voice so that he can give lessons for 10 hours or more without getting hoarse.
    2. And I remember your answer long ago that girls can sing fake opera by pushing their throat back, but I am male and I can also sing the soprano-opera-like voice up to C6 very loudly and I’m the only one who can do that in my school music club. Or pushing the throat back produces a head voice? Certainly I’m not a countertenor because I can go down as low as F2.

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    1. 1. Yes theoretically you could. See, everything he says head voice he MEANS mixed voice.
      2. Guys can fake an opera head voice with improper technique too. Pushing the larynx down with the head voice muscles in action and added air pressure can give off the false impression of what most people perceive to be classical singing. As any form of vocal strain, it can be damaging.

      Like

  29. Can you give me a quick analysis ?
    it’s been a long time since i received some signals from Zhang Li yin.
    i think she’s actually outstandingly shine with both her own colors and comfort range

    Like

    1. Do you have a specific question? She’s not technically Kpop and she might not be analyzed so answering the question isn’t really part of our rules.

      Like

  30. May some opera singers surpass the Excellent level? I mean, are Maria Callas and Joan Sutherland on the same level that Sohyang and Beyoncé?
    Is opera the ultimate technique or is just an stylistic way of singing?
    Do all opera singers are excellent? I mean, does weak or average vocalists exist in opera world?
    If that’s correct, are the analyses based on classical technique as the top level?
    Sorry if the questions are silly or confused but I’m really not familiar of the opera world.

    Like

    1. This is a contemporary singing technique standard, I can’t say where a vocalist would be rated if they’re an opera vocalist because their singing technique is different from contemporary technique. It isn’t ultimate technique, it’s a different way of singing altogether. It’s not possible to compare them in a parallel manner. Yes non-excellent vocalists do exist in the opera world, many popera singers aren’t excellent like Lim Hyungjoo. Jo Sumi doesn’t have excellent technique either. Simply because they have tension and lack development in areas of their singing too. But no, the highest ratings are based on contemporary technique as well.

      Like

  31. Hmm it’s confusing, people around me always says opera singers are better than contemporary just by the fact that they can sing without a mic.
    Opera singers can also have problems like straining or unsupport?
    Runs and riffs well done might put a vocalist in a higher category? I’ve seen Natalie Weiss said the only thing you need to do riffs, is pitch.

    Like

    1. See that’s not a fair comparison because in opera, vocalists are taught to sing with lowered larynx positions so as to have more space to resonate and to hit the right resonators in order to be able to sin over an orchestra. It’s just a different way of singing. Opera singers can definitely strain, although if they’re trained it’s not very likely they would. Yeah Natalie was simplifying it, but riffs take a lot of control and flow, which is more than just having good pitch.

      Like

    1. The video you posted was deleted, so I’ll link the one I watched:

      0:14 ~ 0:22 A3’s and G3’s, her vocal cords did not connect properly at any point during this portion of the verse. All I heard was a lot of airiness, where the sound was really unsupported due to the lack of proper stretch of her vocal cords. 0:23 D4 here she starts to actually use her vocal cords to connect her sound more. 0:24 ~ 0:27 F3’s as well, no support. 0:33 E4’s, now the sound is a lot better produced. 0:51 A4’s, she lacks openness and her throat isn’t fully relaxed. 0:58 she still sounds fairly nasal. 1:05 1:08 Bb4’s she doesn’t have proper support here at all. 1:13 this A4 was her strongest attempt at actually supporting her voice in her mixed voice. She was still somewhat throaty and her vibrato is really wobbly, but this is her least squeezed/nasal A4 I’ve heard so far from many performances. 1:28 falsetto, adequate pitch though the transition lacked smoothness. 1:30 quick mixed C5, followed by a tight Bb4. I wouldn’t say A4’s are fully supported for her but they’re the limit of where she is able to vocalize without as much tension, Bb4 and anywhere above that she starts to become fairly throaty. Due to her support not being very strong, her vibrato is very shaky and that’s because of the tension in her throat as well as the unsteady airflow in her singing. Also FYI I listened to the full video just to make sure I didn’t miss anything but the rest of the song is basically the same technically. I think Rosé’s bad vocal habits with her stylistic choices are too strongly ingrained in her singing, so even when she attempts to sing a song like this that requires actual technique, it’s possible to hear a struggle to get away from her usual style. She sounds really like she’s having a hard time around the A4 ~ C5 range, which for any soprano with some basis of technique should not be a problem. This does show us the extent of her technical ability.

      Like

  32. Hi Ahmin! I know this is out of the rules but you and the team are the one whom i can truly rely on when it comes to vocal analysis. Can you please do some quick analysis with these singers? They are from The Singer 2017 in China, a rebranded version of I am A Singer. They are Tia Ray (the one who sang Golden), Jason Zhang (the one who sang Better Man), and Dimash (the one who sang a french song.) I’ve been watching the show and I would really be grateful if you will find time. They are amazing singers, I promise! 🙂 Thank you Ahmin in advance. Godbless this blog!

    Like

    1. I’m so sorry honey but as you stated you know the rules. I can’t answer the question, it’s all 3 vocalists we will never analyzed and 3 of them all at once too? I’ll be brief. Tia is not bad, her runs are nice. She’s a bit too light, I’m not sure how much of her singing comes with a high larynx. Jason’s mixing is really heady, he is really bright in placement. He’s not bad either. To say they’re all amazing vocalists, I can’t say I agree especially because you included Dimash. Dimash is highly overrated, his head voice is pushed and full of tongue tension, his mix is also pretty much full of tension, he pushes his larynx down on his low notes. He has a high range, that’s all he got going for him but it’s all done with strain. I’m really sorry I can’t take the time to break down the performances and listen to them properly.

      Like

  33. Hello I hope you all are doing well. Recently Yeo One of Pentagon released this cover https://youtu.be/nPdCjFar4zk i know its pre-recorded so i know its not what is preferred ): because he could have done it over many times. Overall, I’m just curious how well he did. What was good and what wasn’t the best. Also, would you still say he’s a baritone? I know you classified him as a baritone before.

    Like

  34. Hey guys.. I have a question about this video

    The part starting 1:53 her tongue’s position looks strange, is this a good technique..?
    Thank you so much.

    Like

    1. Is this the right video? The video cuts off shortly after and she’s not on camera after 1:52. Also she’s not an example of a technically correct vocalist, she’s pushing from her chest and throat a lot.

      Like

      1. Thanks
        might be the when i copied the link
        But she sounded the same almost all the time and you did say she pushes so i think her tongue position showed how she sings.. ❤

        Like

  35. Hey admins! Is this coach’s explanation of “tricking your head voice into mix” an accurate way of developing your mix?

    Here’s the link:

    Like

    1. It can work but the one thing I don’t like is how she’s using the H sound in that exercise, which can create some bad habits.

      Like

  36. I was listening to Rosé’s performance on Masked King, and I know you already analayzed it, but would she be able to fix her shaky vibrato? My vibrato sounds like hers at the end of my notes and I do watch your vocal tips videos, so i do practice what you recommend. Should I be singing in straight tone and wait for the vibrato, or sing through my shakiness and see if it will gradually improve itself as i practice more?

    Like

    1. As long as you’re developing your support, choosing to sing with a vibrato or with straight tone shouldn’t matter to you. The vibrato in itself is a result of improper airflow and some tension but it in itself isn’t unhealthy.

      Like

  37. I’m finally back with my new covers ~~

    How were they overall? Do I support? How is my vibrato? How are my runs, especially the one near the end of Fools? I feel less tense but I still hit a flat F4.

    Like

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