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




10,415 thoughts on “About & Our Criteria

  1. Not sure if it’s appropriate to make this type of question here but here I go, recently I got shocked at how different my recorded speaking voice sounds from what I listen and I think I have a pretty good pitch. Would I get surprised too about my pitch (I mean, disappointed IoI) if I ever listen to my recorded singing? I’m afraid to listen lmao.
    And hmm, have you ever listened to Baek Ah Yeon’s singing to give me some basic info about it?


    1. It is very possible that there’s a drastic change in pitch as well as just general tone quality, simply because the sound you hear when you sing is mixed with the outside sound others hear and the inside sound you hear from inside your body. So the recording only picks up what comes out, but you hear your voice inside unfiltered by any tension that comes after it goes through the vocal tract.

      Baek Ah yeon seems to be a soprano with a relatively small voice, not a lot of openness, I’ve never heard resonance from her nor support in the fifth octave.


  2. I have no experience about singing, but I have a question about mixed voice.
    Is it possible to be able to sing in your mixed voice if you don’t know how to sing in your head voice? I’ve been trying to learn my vocal range but I can’t sing notes about F#4. I think that’s as far as my chest will allow me to go. I’m a male btw


      1. not an admin but i’ve seen ahmin answer a similar question, and so i know it is possible, whether you are a tenor or a baritone you cannot bring solely chest voice that high, you need some degree of mixing , even if the mix has mostly chest voice in it, the fact you can sing as high as f#4 means you can use a mixed voice for sure, even if u cannot produce a pure head voice, even if you can only do a falsseto, you are still able to use your mixed voice.


    1. I second the comment above. If you’re untrained you can strain anywhere, it’s not usual that untrained vocalists sing in a supported or even relaxed manner.


  3. Hi there ahmin and the team!!…. sorry to be asking this ..but can you take a listen to my singing…its been quite awhile since ive been practicing your tips ….i hope im doing it right…the thing is, in my country, proper vocal technique is not emphasized at all..even among most professional singers …im scared that i might catch on some bad habbits…
    Here is my link

    Do take caution from 1:05 till 1:10 cos there have been a few screeching sounds from the speaker
    How did i do there?…how about the eb4 on each chorus and a few E4 and F4 in the climax? I do know that i did badly on the runs though.
    You can take your time on this, and its ok if you dont reply to it….but i do hope that you do..
    Thanks in advance!!


  4. I have a question about Yuju’s high note starting at 2:42.
    The first note, is it a C#5, and is it supported?
    The for the last two notes, I know they are strained, but notes are they?


  5. Hello, I miss you guys so I come back here. I wanna ask, how to know people that sing with support? Are there only Shannon and Roa that sing with support in Pristin? Thanks before, hope you would answer this


  6. How is pop singers head voice compared to classical singers technically? Would pop singers with developed head voice (like Ailee, Wendy, Luna ex.) have it easier to sing opera compared to singers on their level but less developed head voice ? Because as far as I can hear, even Pop singers with fantastic head voice like Beyonce, Shannon, and Whitney doesn’t sound as “full and round” as famous classical singers in their head voice. Classical singers can make their head voice sounds like flute’s.


    1. Ofc classical singers are superior. For 2nd question, not necessarily. Being able to sing operatic is all about strong support with total control over placement & maintaining good larynx position(lowered). So it’s not necessarily about how developed their HV is but it certainly helps(especially since female singers in opera use HV a lot). Beyonce & Whitney can do semi-operatic tone, but probably the reason why they didn’t go full on operatic mode is bcuz they don’t feel like they need to. You know they’re pop singers, not operatic singers. But they certainly know how to, a sign of very developed voice.


  7. hi! are any vocalists in produce 48 standing out to yall currently? i have yet to be impressed, but i think the top vocalists would be jo yuri, na goeun, han chowon, park haeyoon, and park minji, but let me know what you think!


    1. To be honest, I don’t really watch the produce series so I don’t really have a straight answer for you. All I have seen was the performance of Into The New World and from that Yunjin doesn’t seem too bad!


  8. Is there a way for me to send you a clip of me singing? I want a professional to judge my singing. And you seem to be a chill person so I hope that you will reply.


    1. Ahmin has his email address on his YT channel (Kitsunemale) and you can also link a YT clip of your singing here 😀 idk about pandayeu :/


  9. Hi !

    I enjoy singing a lot and as someone who really wants to improve, all the content you provided on this website has really been helpful to me. I wanted to share an audio clip of me singing so you could if possible make a short review because I don’t know my current level nor where to start and what to practice. The song is not high but I can’t hit notes higher than F4 and I still don’t know why, my voice just cracks, maybe because it hasn’t finished breaking yet.


    Thank you !


    1. I don’t think you can. But I’ve watched some tutorial of rock singing & a lot of them use support mechanism for those “screaming” & “yelling” in rock music. One type of rock screaming is by using support + head voice + vocal fry combined tgt to create healthy screaming. Another by using healthy growl & rasp. That’s as far as I know.


  10. Question – can you tell me the Korean equivalent for the term ‘voice type’? See, I know the Chinese characters for it ‘声種’ – it works natively and in Japanese, but as Hanja it’s meaning becomes confusing. I guess it would start with 음 but what comes next eludes me!


    1. There’s no term for voice type in Korean at the moment. The word for voice type is the same as vocal range, there’s no specific Korean word for it.


  11. I have a beginner question that confused me, sorry I don’t know much about singing. When some idols are noted to not support their voice or any notes.
    Everyone supports to some degree right? Most people speak in their chest voice, which is a voice that they should be comfortable with as they use that part of their voice every day. If any vocalist sings within their speaking range in their chest voice, it should be supported right?


    1. singing and speaking are two completely different things, the way our breathing works is very different, so No even in the most basic comfortable chest speaking range a lot of weak vocalists don’t support a single note


    1. It’s not an easy question to answer I’m afraid. It’s a sensation as much as it is a quality but as qualities are, it’s hard to really describe it, as opposed to simply showing it.

      Liked by 1 person

      1. Would you mind giving examples showing that a person singing with breath support and a person singing without breath support?


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