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. 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/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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7,299 thoughts on “About & Our Criteria

  1. Hi again, Ahmin!

    Well, this isn’t k-pop related, I must say, but I wanted to seek your help as a vocal instructor. You’ll see, I’m looking for some trainer or music school to help me improve my vocal technique. However, I’m not really sure where should I search for, so can you give me any tips for me to recognize if the trainer is reliable or not? Sorry, I know that it’s difficult to answer, but I wouldn’t like to find someone who doesn’t teach properly.

    And by the way, have you ever heard of “voicecraft” technique? A friend of mine is learning it and she told me only few people were allowed to teach it. I’m pretty curious about it, lol.

    Thank you in advance and keep up the good work, it’s always a pleasure coming back here 😉

    Like

    1. Well I think one way for me is to hear who they think has really good technique in the music industry right now and why. Then get a feel for how they teach and how fast they go or if they go at your pace. Do they just want you to sing high notes? Do they address your issues? Do they explain anything to you? I’ve never heard of it! Let me know if you find out more bout it.

      Like

  2. Hello! I’ve read some comments on YouTube saying that Rose is a better vovalust then Jihyo and I just want to ask if that was true and the reasons why if it is or not. P.S: I really love this Blog and I think you’re awesome. \(^-^)/

    Like

    1. Honestly this isn’t anything against you and I appreciate your loving words. It’s just this is a question that we get asked a lot, and I’ve gotten tired of answering it because there’s just so much rivalry between these two fandoms and I’m very tired of fanwars. You shouldn’t listen to random fans on YouTube. If you want to know their ratings, you’ll find out once they’re analyzed but I really must ask that you be patient because they’re rookies and thus won’t be analyzed soon.

      Since I’ve answered this before I’ll copy paste my answer, let me know if that’s enough:
      “Someone asked me about this one video and I answered specific questions about Jihyo and Rosé. I did a whole breakdown comparing them both actually to an extent and again the difference is too clear. Rosé is pure nasal throaty style, Jihyo is a lot cleaner and healthier. I disagree that Rosé sounds better in anyway. If she is more appealing to some, that’s taste, not a factual statement. So here’s what I said in case you’re curious:

      The original 7:00 video was deleted so the time stamps wont match.

      “1:18 she is speaking in the beginning, then she starts singing like two notes repeatedly 1:36 C#4 and D#4, 1:44 F#4 to F4. 2:16 F#4 again 2:21 G#4’s. I wouldn’t necessarily say that when she gets to the G#4 that she starts straining, but the range for this song is VERY narrow and not challenging for a Soprano at all. So for her to have any sort of tension on a note as low as G#4, it’s quite underwhelming for a soprano. So when you ask…is her voice shaky and breathy like that, are you asking basically if the way she sounds isn’t related to her singing technique but instead it’s just the natural tone of her voice? If that’s what you mean, then yeah it’s a technique. Nobody’s voice is naturally shaky nor breathy. Shakiness comes from the lack of control of the vocal cords, breathiness comes from the lack of contact of the vocal cords. If the vocal cords don’t come together enough, then air passes through them and then you become airy in quality. If the vocal cords aren’t fully coming together, they can’t stretch properly against proper airflow from one’s breath support. So because of that, the lack of resistance from the vocal cords against the flow of air will then make the vocalist become shaky.

      Most of Blackpink’s songs tend to be kind of speech like, so they make her sound like she’s not really singing yet. 2:53 You asked about Jihyo, so by contrast Jihyo has better support and she approaches her singing with better legato. Legato meaning the connection of the notes when she sings, she chops up her singing a lot less than Jihyo. 3:04 The thing with Jihyo is her mixed voice tends to be very chesty, so she sounds a bit pushed the higher she goes. So by contrast, Rose sounds closed and Jihyo can sound yelly. So That note at 3:04 is an A4 and the placement of the sound is good in her cavities, but she is pushing a bit too much air. Her connection is not bad though. 3:11 a bit tense on the quick phrased C5. But she supports with a lot more consistency of air. 3:24 Rose goes flat in this part, she tends to sing with less stretch of her vocal cords.

      She tries less, both she and the vocalist of 10CM are very similar. They sing with a very whiny quality in singing and tend to compress their vocal cords and throats to achieve a grittier sound. 3:44 Bb4 for Jihyo here, a higher note than anything Rose has sung so far and she sounds fairly relaxed with much better connection. 3:53 A4’s for Rose, here she is trying a bit harder to sing without relying solely on the style she chooses to sing with. This does cause her a bit of strain cause she is pushing a bit too much and tightening her throat a bit. Again this isn’t a challenging range at all for a soprano, this should be relatively fine.

      6:45 she sings with half vocal cracks when she sings but even on Bb4’s she isn’t exactly straining, 7:03 I hear throatiness and strain on her C5’s for sure but below that she is still kind of half cracking her voice for style. 7:16 C5 7:19 Bb4’s, sustained, I hear actual strain here as well. She isn’t relying on proper breath support to her voice, she is using the pressure from her swallowing muscles to try and become louder, which is hurtful to the vocal cords. 7:34 same thing here.

      So the thing with Rose is that she isn’t a technical vocalist at all. She opts for no technique and simply uses style to sing. This is fine but limiting. This is what many perceive to be uniqueness, but in a way it isn’t that unique because as you suggested, this is a popular style for indie singers. So all she’s doing is singing like an indie singer which isn’t unique to her voice, but instead unique to that style. The uniqueness comes from combining that style with a genre within K-pop that’s not exactly indie. The problem for her is that choosing to sing in this style, she never really exercises her vocal cords to develop them properly. To stretch them and connect them like they need to be and getting in the bad habit of stylistic tension causes her to actually be tense and strain her voice very early on in range. Style is fine as long as it’s on purpose, but so far I’ve yet to hear her singing outside of that narrow range she sings in or outside of that kind of style. Actually it would be more unique if she used her real voice to sing instead of leaning towards an indie technique but that would just show fans her real voice but it may not be how she chooses to sound and what she wants to sound like. So the choice is hers, most of the time she sings in a narrow range so there’s little reason for her to hurt her instrument. However if she were to sing songs that are wider in range, more dynamically challenging and need her to have better technique, I worry that she wouldn’t perform as well in them. I hope I was able to address your questions and let me know if you still have any other ones. ^ ^”

      Like

      1. Thank you for your response! I didn’t know that a lot of people asked you the same think and I’m sorry that you had to repeat yourself and yes I hate all the fan wars as well and wished they all would just end. Once again thank you for your response and have a nice day \(^-^)/

        Liked by 1 person

    1. Yes I surely know Lyn. She didn’t show real support below A3 throughout the performance. The F#3’s were mostly soft and whispered. 1:30 the Bb4 was supported. She also had supported C5’s throughout. 2:57 that Eb5 was somewhat shrill. She mixes relatively well, its bright but she can be a bit nasal and she lacks roundness and fullness. She supports up to C5 for sure, in both performances. She transitions into a very head dominant mixed voice as well as head voice, I’m not sure Id call those notes a mix as much as I’d call it a nasal head voice at times. D5’s are a question mark for me for now. I’m kind of interested in bumping up her analysis now.

      Like

      1. thank you so much.
        by the way, i’ve uploaded new track, what do you think about it.

        one of my prob is that when i hit lownotes, i feel nearly out of tune….. how to fix that????
        thanks in advance

        Like

      2. You’re not really out of tune at all when you sing low notes. Your pitch is fine, it’s just that you sing with a compressed throat shape and a high larynx everywhere in your range. Your approach is really REALLY heady. This isn’t really anything technically different than what you’ve shown me so far but it’s a much better song choice. The problem is…how do you practice your singing? Do you do any vocal exercises? Do you try to develop your chest voice at all? Do you try to develop vocal cord connection and proper support/stretch? Do you try to check your larynx position? Do you just sing songs and hope that you’ll get better eventually?

        Like

    1. Why don’t you make your question more specific? I’m not sure what his voice type is but the range of the song is like C#3 ~ F#4 throughout, he darkens his tone a lot when he sings and at times pushes his larynx down too much. He sings with a bit of back of the tongue tension, too low of a chest placement and a bit of throatiness. He is supporting throughout actually, but the tone quality is pushed and so if he is to sing higher than F#4, he will strain because he is darkening his voice too artificially. 3:23 he has a couple of throaty G#4’s throughout the bridge. 3:34 throaty F#4. Tongue tension present on and off. I’m really not sure if he is a tenor trying to darken his tone or a baritone off of this alone. He is not a bad vocalist, but he uses too much throat pressure and low placement which makes his sound limited.

      Like

  3. Seriously, I really really really like this blog. Before this I just like to read the analysis, without being interested in vocal technique, but right now I’m really into vocal technique. There are few questions that I want asks, as I’m kinda still new in this vocal pedagogy:

    1) Can ppl sings with resonance if they are nasal ?
    2) Can ppl mix with support with undeveloped head voice (like cannot support at all) ?
    3) Can ppl sings without nasal if they have runny nose/clogged nose(?) <— I don't know what terms are. Hahaha ? (and I don't know whether this related or not with singing. Hahah)
    4) Can agility be train ? or agility is gifted for someone ?
    5) This question is kinda random, but I'm still curious… can ppl sing with support without any vocal training/exercises ?

    For right now, these are the questions. I hope you understand what am I asking as you can see my english kinda sucks. And thank you so much for making this blog and teach us so many things through this blog. Really appreciate it. keep up the goodwork guys ! 🙂

    Like

    1. Hi thank you for your beautiful words of support and your English doesn’t suck at all!
      1. No, they cannot.
      2. Sure of course, the mix is independent of the development of other registers since it’s a register of its own.
      3. Yeah, the clogged nose only blocks the nose and if you sing without nasality, the nose won’t be used at all.
      4. Yes it can be trained definitely.
      5. Yes sure, some people can learn things from just copying others.

      Like

      1. Tq so much for replying!! It means a lot as some questions are related to me actually. And two more questions (I’m sorry for asking many questions),
        1) Is there any specific exercises for developing head voice and agility? Because I cannot sing using connected head voice at all, I can only sing with strain and airy falsetto.
        2) I’m currently practising vocal exercises and I notice that I’m straining while doing the exercises. I never train my singing before, so you can say that I cannot support at all I guess. It’s quite hard for me. I really hope you can help me by hearing to my vocal exercises.

        Like

      2. 1. I have not made videos about those things but I know exercises. At least for agility, you can watch Natalie Weiss and her series called breaking down the riffs.
        2. I think you should start with easy, soft exercises. Don’t try to belt yet.

        Like

  4. hello, ahmin

    Do you know Sphenoid sinus ? some ppl (vocal teacher) say some singer can resonance in Sphenoid sinus such as Mariah Carey. Do you agree?

    and do you mean the clogged nose will not affect the vocalist singing if they are not nasal?

    classical singer always using head voice for singing, most of them have a supported head voice?

    Thank you

    Like

    1. I mean if the vocalist knows how to sing without nasality then it shouldn’t affect them extremely and the sphenoid sinus is a specific area of the sinus cavities so I’m not sure I can hear it if someone is resonating through there specifically. Most classical singers have supported head voices yes, hopefully all really.

      Like

  5. Hi, Ahmin! I know you’re a busy person. I have a big favor to ask. This is my first time sending my recording. I am untrained and never go in music lessons but I really want to improve. I wish you could listen on my minute-long recording, http://vocaroo.com/i/s0ezVjQLYhrq. I am aware my issue around 0:29.

    1. What’s my voice type?
    2. How was my mix register in terms of support? Chesty or Heady mix?
    3. How was my chest voice? I am aware that I didn’t sing that low or high.

    Thank you very much.

    Like

    1. I think you sound like you sing with improper posture, Your throat lacks openness. You often sing with a high larynx, you don’t seem to open your throat much. You lack support, that’s because Your throat muscles are being overly used. You sound like an untrained baritone.

      Like

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