Kim SoHyang Vocal Analysis


Vocal Range

Eb3 ~ A6 (3 octaves and 3 notes)

Lower register may extended down to D3.

Supported Range

G#3/A3-F6 (Including head voice)

G#3/A3-C6 (Not including head voice)



Vocal Type

Full Lyric Soprano


Due to her extremely well trained middle register and vocal endurance she is able to consistently belt with resonance and power in the upper 5th octave (E5-B5), this skill has been very much well showcased all throughout her career. She also has a very connected voice she is able to flawlessly transition between chest to head voice and head voice to chest with no noticeable breaks or cracks. She has the ability to do complex vocal lines without losing tonality and without losing speed. Because of superior breath control she is able to do complex vocal lines in one breath and sustain notes for very long lengths of time. Sohyang also can maintain a consistent column of sound and can sing with an even scale with no drops of support in the A3-F6 range, she is also one of the very few Sopranos who can stay within the Soprano range without vocal effort truly one of the best vocalist in Asia.


Compared to the rest her voice, her lower register is underdeveloped and lower notes can be unsupported.


Lower Register: Not well supported/quiet  below G#3/A3 lower notes can sometimes be lost due to the airiness of them.

Middle Register: Extremely consistent and amazing ease. 99.99% of the time supported. The Ring is almost always achieved in the A4-B5 range and resonance up to C6. Able to hold out notes in the upper fifth octave for long lengths of time and able to due to vocal runs in the upper fifth octave without losing resonance/tonality. Able to maintain dynamics in this register up to F#5/G5. Generally uses a balanced mix.

Head Voice: Well developed head voice that is connected with the rest of the voice. Very bright,full and vibrant able to maintain head resonance to F6.  Able to maintain/do dynamics in this register.

Overall Technique

Breath Control & Support: Amazing breath control and support. She is able to do vocal feats like Crescendo and Decrescendo with ease and complete resonance, able to stay in the upper fifth octave with ease and resonance no strain no pain. Dynamics are not a problem for her even in her upper extremes.Amazing transitions between head voice and chest. Superior control and support is sadly not carried down to her lower register as notes below G#/A3 can be not supported and just airy.

Resonance:  Very consistent resonance from all throughout the mixed register, having the best ring in the Eb5-G#5/A5 range.

Mixing: When she started Sohyang used a headier mix in the E5-B5 range, but throughout the years she has adjusted to use a balance mix all throughout her mid range. She can willingly change the amount of chest she uses in her mix to make weightier sounds, but normally just uses a balanced mix.

Tone Production: She sings with a risen palate 99.99% of the time, so no true nasality. Her voice is very creamy and womanly though maintains the brightness of a Soprano. Has excellent control of how she uses her voice adding more or less chest to her mix depending on what she wants to convey/on the song. Her head voice has an extremely bright, vibrant soprano like feel to it, she is able to change the intensity of her head voice( from solid to floaty) at will.

Intonation: Fairly consistent intonation really only have pitch issues when doing very intricate and complex runs, other than that extremely reliable.


Sohyang has amazing musicianship and control of how she uses her voice to fit the style(from a more rock like sound in My World, to a more family friendly sound in Have Yourself a Merry Little Christmas). Her musicianship though, which mainly includes very high belts, high vocal runs, transitions from head to chest is not meant for everyone though. Common complaints about her musicianship is that it is too overbearing or just “too much” and that her belting can take away from the music at times and emotion can be lost. Though there are times when her musicianship is less offensive to people and they can genuinely enjoy her singing.


Excellent vocalist

Vocal Range Video(s)

Videos by: WestVoice

Video by: bxiaiao

Analysis done by: pandayeu


792 thoughts on “Kim SoHyang Vocal Analysis

  1. Hi Ahmin3. I tried to analyze this performance because a certain Charice-tard has been pissing off me of greatly. Can you check if it is accurate?

    Charice is singing with tongue tension and nasal, as usual. Her high note at 2:23 is closed and shrilled.

    Sohyang struggles with low notes because she sucks at is, yes. More than that, she also struggled with the diction, which explained the tension she had as she sings her lines. The fact that she grew up in a non-English speaking community explained it. Try singing Korean vowels and realized that the struggle was real.


    1. wow, “she sucks at it” – If you want to critique someone, do so in a respectable manner! Especially for such an amazing vocalist like SoHyang, who’s on her own level. Even the guy who actually did her analysis pointed out her weakness in a respectable manner. Admin, I encourage you to please delete such an immature comment!!!!!!


      1. If the user simply apologizes and rephrases what they said, I’m okay with it because even though the way they phrased their critique wasn’t the most delicate, they had no ill intentions and were just speaking casually. I shall give them the benefit of the doubt because the comment in itself was argumentative and raised fair points.


  2. Hello, sorry to bother you guys with a stupid question, but other than when doing runs, does Sohyang have pitch issues? I was reading youtube comments (I know, bad idea) and there’s this person saying that she gets pitchy often. I’m not asking you so I can start a fight or anything, I just got curious and I think you guys are rather unbiased so I wanted to know.
    Sorry to bother you, again, and thank you for all your hard work.


    1. I dont think she’s pitchy to an extent of it being a technical issue. Everyone can go slightly flat or sharp but she’s only really pitchy with runs. I disagree with said person.


      1. That’s what I wanted to know, if it was a technical issue, ’cause she’s only human so I know she’s not going to be perfect all the time. Thank you for your reply!

        Liked by 1 person

      1. Kai said that she was the only one who can win the King now and she didn’t show anything at the round 1, but it seemed that nobody trusted him. I can’t wait to see how Sohyang slays them all next week


      2. Kai (one of the panelists) said, people may think she showed almost all of what she can do, but actually it’s only tip of the nail of her full capabilities

        Because it was still 1st round which is preliminary round, she just sang slightly better than her competitor (on purpose, only to win that round)
        So no high notes above C5 IMO, mostly only on 4th octave

        The real war begin on 2nd round, and I believe she will show legendary performance on 3rd round


    1. Yess I can’t wait for another week, I wish I could time travel to next week lol

      I predict the final round would be a war of high notes here and there, because potential contender of her maybe Romantic Punch Bae In Hyuk, which could hit notes around G5 at least (I don’t know if it is supported or resonance or not)

      But I agree that she will slay everyone and become the Queen 😀


  3. Guys is So Hyang analysis on progress, if so please hold So Hyang update for a while 😀

    Yesterday she appeared on King of Mask Singer, and I wish next week she will become the new King, and stay there for at least 2 months

    If that’s the case there will be couple of new performances of her as materials to be considered on her analysis update

    cc : Ahmin, Pandayeu


  4. Hey admins! Just curious to know, does Felicia Ricci have a similar mixing technique as Sohyang? As someone who doesn’t really have a trained ear, I find it hard to notice when other singers are actually using some head voice in their mix voice belts (in other words, they mostly sound quite chesty or just yelled to me) but when I listen to Sohyang, I find it very much obvious that she uses a balanced mix of head and chest, plus she sounds quite powerful without sounding like she’s trying so hard to hit high notes. When I listened to a certain video with Felicia Ricci singing, I felt the way she mixes is pretty similar to Sohyang. Here’s the clip in question:


      1. No I dont really want to know her rating just if she has enough support resonance etc.. because she mixes similar to Sohyang which means atleast basics down to me


    1. That user was talking really big without having the ears for it. It wasn’t strained to me, but it sounded like she was tired.


  5. Hi, since she sometimes has troubles with more complex runs, shouldn’t that be included in her weaknesses as well?
    Thank you!


  6. Hi
    Her recorded highest note (without HV) to date with support is C#6, but what do you think (personal opinion) the highest note she could hit with her mixed voice? (ofc without support and even strained/pushing)


  7. Hi ahmin3, may I know what notes they are in 2:02, 3:00, 3:07, 3:45, 3:49 & 4:18, respectively? I can tell they are in the 5th octave but I’m not sure with the exact notes, tq in advance.


      1. In regard to your reply to the previous comment, isn’t it uncommon for Sopranos to mix an Eb6? Or is it something achievable with much practice?


      2. It really depends on each singer. Not everybody has the same voice truthfully speaking. Even though theoretically all sopranos should have similar ranges if they have the same voice type, in contemporary singing with the implementation of the mixed voice, people have very different degrees of mixing. I mean Ariana Grande can’t support C5 consistently but can mix B5. Yeonjung can’t support above B4, but can mix C6. Taeyeon can support D5, but hasn’t mixed above G#5. Haeri can support F#5, but starts to get cracky around G5. So everyone is different, so yes a soprano who can mix Eb6 is uncommon.


      1. Btw, I heard that Son Seung Yeon became a spinto soprano iinstead of full lyric soprano as she used to be. Is that true ? And does her supported range extend to G#5 instead of F#5 ? Thank u !


      2. If that were so, we would have altered her analysis. So no, it’s not true. Who’s spreading these lies?


      3. Some members in a vocal analysis group on facebook conclude that Son Seung Yeon became a true spinto soprano. Just like you, I think she’s still a full lyric soprano but I don’t know how to prove it @@


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