About & Our Criteria

Image result for iu singing

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.

cropped-header1.png

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 K-POP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise. 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

Advertisements

9,057 thoughts on “About & Our Criteria

  1. wow so fast! I think I have understand now, I just want to make sure. have you made some vocal tips about vocal agility? cause I think it’s hard to train vocal agility lol. Thanks again!

    Like

  2. Hi Ahmin! This is a bit late and people may have asked about this already, but could you give some feedback on this performance?

    More specifically, how does Kim Nayeon do here? She is the one who sings at 0:17. Does she support? I know these idols are not on your list of future analyses, but they seemed to be the top 3 on the show in regards to vocals and are likely to debut in the future as vocal based members of their groups. Kim Nayeon also used to be a member of Berry Good and was one of the 3 main vocals (with Gowoon and Taeha), but she left with the big lineup change in order to focus on her studies.

    Like

  3. Hello, Ahmin! I noticed that when I sing higher notes, I tend to sound throaty and gritty. How do you get rid of throatiness in singing? Thank you for you response.

    Like

    1. That’s a very general question and I am not listening to you, so I’m not sure I can tell you what’s happening. What I can guess is that the higher you go, the less you use support and the more you push and get louder. Try to sing softer for starters and utilize less of a shouty approach, perhaps that could help.

      Like

  4. Ahmin, porque você não pensa em debutar num grupo de Kpop? Eu acho que você tem todo o perfil, podendo ser o vocalista principal e roubar o lugar do Kyuhyun.

    Like

    1. Hahaha Eu acho que não é assim tão simples. Eu costumava querer ser cantor, mas desistir da minha vida pessoal me parece bem unappealing. E mais que isso, eu sinto que ainda sim como tendo um rosto muito menos asiático, eu não me encaixaria bem. Eu também tô meio velho para entrar em grupo de meninos com menos de 20 ou menos de 18 anos. Eu acho que sendo barítono, também seria difícil. Acho que no final das contas, a minha única opção seria ser solista.

      Like

      1. Entendo. Desculpe pela pergunta, foi apenas curiosidade. Com 25 anos poderia ser um líder! E sobre a voz, eu entendo que os asiáticos (especialmente coreanos e japoneses), parecem gostar de vozes mais agudas/finas, pois soa fofo e angelical. Pessoalmente acho que vozes mais graves como barítonos e mezzos são mais ricas e exploráveis. Como você tem bastante técnica e uma voz natural bem bonita, seria admirado por muitas pessoas. Seria interessante você cantar mais músicas e postar no blog, pois isso inspira muita gente! Me desculpe por lhe encher de perguntas e obrigado pela atenção.

        Like

      2. Ah que nada! Não é razão para se desculpar não! Muito obrigado pelos elogios de verdade, eu fico bem lisongeado! Não se preocupa, eu agradeço muito!

        Like

  5. how was Jihyo and Nayeons high note in genie? I know its not as good as the original (Taeyeons) possibly because its out their registers, Jihyo high note starts on 2:02 and ends at 2:23 and Nayeons high note starts at 2:24 and ends at 2:31

    so which high note was better? did any of them support etc

    Like

  6. Hi Ahmin!
    Can I ask you if you could analyze this perfomance? This is High Color, Heo Chanmi’s new group. What is interesting is that they all sound like they can support, would you mind taking a look at it to confirm it? Thank you.

    Like

    1. So she’s getting her 4th chance? I hope this one is the one. 0:30 Her C5’s and that phrasing around there sounds really tight, she is not opening her throat at all. Their harmonies are pretty strong. The first one to sing was the girl on the far right, right? She has some support going for her. Girl on the far left, her throat shape isn’t very opened on most vowels and her support can lack connection up in the higher parts, like B4, but otherwise she’s got some support there too. 1:16 short hair girl is the most shallow so far. 1:20 Chanmi is not opening enough. 1:35 she is not as tight as Chanmi was, but she has too much run in her runs. 2:15 F5 in head voice, a bit too much air. C5 for the far left girl, tightness. 2:20 C5’s need more openness. I can’t come up with anything conclusive based off of this video alone, sorry.

      Like

      1. David is Maybe Great he only has a very developed Mix and maybe above average low range like D3 but all his upper Range is falsetto so Dongha is way closer to excellent than any male vocalist i heard

        Like

  7. Can you listen to my recordings and tell me my voice type? I was told I’m too young (19) to classify but I’d still like to know. Also, how would you judge my technique, I was told I sing with hyponasality and my head voice is under high pressure? Thanks! https://clyp.it/user/wosqwe5o

    Like

    1. What’s hyponasality? You didn’t really sing in head voice here. This isn’t the best way to talk about your technique. But what I’m hearing is a lot of things. You don’t open your vowels, your jaw isn’t dropped, there’s way too much air being used to sing without enough connection or support. You let too much air out, there’s too much breathiness, you use H’s to change from one note to the other when you should rely on the vocal cords alone, you are nasal yes, you lower your larynx on your lowest notes and it just sounds like you’re untrained which is fine. You’d just have to work on jaw position, throat shaping, vocal cord connection, proper engagement of support, proper airflow so that you won’t run out of air so quickly and placement. You sound to me like an untrained baritone, but if you mean too young to classify more specifically than that, yes I would agree. But I wouldn’t say you sound like a tenor.

      Like

  8. Is it possible to strain without your larynx raising? Or…. Idk how to ask lol like you can go out of your supported range, but keep your larynx stable until a certain point

    Like

    1. That is an interesting question and I’m not entirely sure of the answer. I would assume that yes because strain isn’t 100% correlated with a high larynx. A high larynx indicates strain, but being throaty or having a closed throat wouldn’t necessarily raise the larynx as far as I am aware, but I could be wrong. Unsupported singing could be done with a somewhat neutral larynx though, as in shallow singing.

      Like

  9. Do you have those people who are technically in the weak category but you can’t help but like them despite relatively poor technique ? For me, I really enjoy yoochun from jyj. I usually really like vocalists with good technique but him along with jun. k are people that despite the flaws, I can’t get over their singing.

    Like

  10. as i know that, tongue tension is not affect support. Can we use tongue tension to make the larynx down to against high larynx to support our voice?

    Like

    1. I’d rather you not use your tongue to move your larynx down. Instead try just allowing it to be in a lower position so as to counter the bad habit of a high larynx.

      Like

    1. I’m so thankful that you sent older recordings to compare! What I’m hearing isn’t much of a difference, compared to the musical song you sound a lot less closed in the higher notes but your diction is impaired by your accent, so your sound sometimes goes into your lower jaw, especially on the higher notes. The beginning of the bridge was off key, careful there. Overall you’re really not doing bad but because your throat shape isn’t opened enough, you end up being more tense than you need to. Your transitions into head voice aren’t bad! Careful with your runs too. Make sure to work on a slightly yawny feeling so as to open your throat better overall but make sure your tongue doesn’t roll back.

      Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s