A2 ~ C6 (3 Octaves, 1 note and 1 semitone)
D3/Eb3 ~ E4/F4
- Very extensive mixed register, able to mix up until G5
- Bright and relaxed falsetto/head register up until D5/Eb5
- Able to produce non-nasal belts at time, with better projection
- Able to somewhat support some of his lower range down to Eb3/D3’s
- His throat and larynx stay more relaxed and stable, showing some support in his mix usually up to F4
- Able to at times project his mix well, even with tension
- Although strain is present in his mix, the mix is generally head-dominant, causing less strain than a chest-dominant strained mix
- Able to produce head voice at times, rather a breathy falsetto
Points for Improvement
- Nasality is quite frequently present in his singing, unintentionally
- Notes below D3 show an excessive unnecessary use of airiness and become hard to hear
- Lacks support and volume in his lower range
- Tends to let his throat, swallowing muscles and tongue tense up on higher notes, making the sound come off whiny and tight
- Falsetto register may at times be relaxed, but still lack the projection and placement present in his mix
- Vocal runs are often imprecise and use a robotic staccato, lacking connection and flow
- Falsetto, mixed and head notes tend to become very strained, pushed and tense the higher he goes
- Intonation is at times off and inconsistent within one performance and in vocal runs
- Uses a “Smile” technique in his belts, creating a high larynx and lots of muscle tension
- Larynx isn’t always stable in his lower range
- Transitions into head from mix aren’t very smooth
- Mix is quite uneven, although headiness may strain the voice less, the tone in itself isn’t very versatile
- Lower register: Not badly supported overall nor produced. Able to overall keep stability with the larynx and produced a non-breathy tone down to around Eb3 and D3. Notes below though may at times be overly breathy or just generally a stable larynx, but a quiet almost inaudible volume. The drop in volume takes away from projection and general placement. He also may at times lower his larynx to try and project lower notes, which is also incorrect.
- Mixed register: One of the headiest and highest mixed registers amongst male K-pop vocalist. He is able to keep a stable larynx and soft sound generally up to F4 without much difficulty, but notes above tend to be shrill, tense, nasal and tight. Has the tendency to pull his mix up too high and strain his voice beyond his limit, producing a piercing unpleasant sound overall.
- Upper register: The head and falsetto register tend to come together depending on the range he sings in. Generally switches into a falsetto if he’s switching from his mix mid-phrase or if he’s singing in his lower falsetto register, and above tends to produce a truer head voice at times and at other times a reinforced tense falsetto. At times may be able to easily go up to E5 and above, but the larynx isn’t stable and the sound is nasal.
Changmin’s voice should allow him to develop into a leggero tenor or tenore di grazia if he were able to truly develop the coloratura potential he has in his voice. His voice is so light and bright that vocal agility should be quite easy, however he shows more often than not that his runs end up being sloppy, overly staccato and incorrect in pitch precision. He tends to often not flow through his runs and sound sloppy in his runs, needing to work on a smoother flow between his runs and a more accurate precision.
Changmin’s voice is one of the most noticeable and unique ones in K-pop according to fans and non-fans alike. Member of acclaimed SM vocal group TVXQ!, he is able to stand out for his uniqueness in tone. Changmin’s voice sits quite high in range, but he isn’t anything more than simply a light lyric tenor, his true tone is still a manly tone, however due to the lack of chest in his mix voice, he’s been able to teach himself to sing in a much higher range than many other male K-pop vocalists, setting him apart from them in that way. His voice has a piercing, bright and light quality to it, lacking depth or fullness in tone, however.
The lower range clearly seems to be one of his least developed registers. Able to go down to A2, his voice lacks volume and projection in his lower range, only truly being able to be supported around D3 and above. Even so, at times his voice will be slightly unprojected and quiet even in that range, though proper cord connection may be present. On notes below D3, his voice will at times lose tone and become breathy, and at others, he will lower his larynx to fill his voice out as if to produce a tone he is aware he wouldn’t be able to produce otherwise. An example of this would be the performances of “Duet” by TVXQ!, where his C3’s are produced by lowering his larynx, creating a rather false and shallow tone, lacking true stability and a true support sound. However so, his larynx is generally stable above D3’s, with a more present, but light heady tone.
His voice truly shows itself in his mix register by extending up to the impressive note of G5. Changmin is one of the few male K-pop vocalists who is able to stay in such a high range constantly without great signs of fatigue over the the years. The problem with this, however, is that Changmin never truly developed his chest voice, even in his lower range, in his mix to produce a full and resonant sound. His voice is generally very light and heady throughout every register, lacking at true versatility and more often than note coming off as too bright and piercing. His mixing is heady and therefore uneven, unable to balance out, but also able to keep the larynx stable on notes like G4 and under, due to the lightness of tone produced. At times, in performances such as lives of “I Wanna Hold You”, he was able to produce more opened G4’s, although not consistently.
The mixed voice however, takes a turn for the worse as he ascends higher in his range above G4, where many times Changmin will not be able to place his voice forward, will swallow the sound and lack projection. His throat tends to also close, the back of his tongue tensing up and his larynx raising, causing the sound to become thin, tight and nasal overall. He has the bad tendency of choosing to constantly sing songs that stay in this range, going high up above on C5’s quite often, straining his voice every single time he chooses to sing up this high. He does not tend to get throaty or push his chest voice up, but rather produce a heady nasal whiny sound which still will damage his voice over time.
Changmin’s falsetto tends to come out often when he does not transition properly between his mix and upper register, becoming slightly unstable and lacking the projection present in the mix. His mixed voice may be strained, but at least it projects, even if through his nose. His falsetto on the other hand, turns thin and breathy, not being able to truly cut through and project. Changmin will then force it to project by adding extra strain on his voice cords, pushing more air out and creating a very sharp piercing sound which he often uses in his mix and falsetto register.
His overall breathing isn’t completely incorrect, however he isn’t too mindful of the true intake of air he needs to support his voice. He never truly developed his chest voice to produce a truly resonant sound often, lacking chest resonance. He many times presents nasality in his voice, but that doesn’t take away from the support his voice does have overall when keeping the larynx stable through his supported range. One of his biggest issues is his “smile” technique. It seems as though Changmin has been taught that if he smiles while singing high notes, he will be able to sing higher and mix better. This is evident in many performances of “이것만을 알고가 (Before U Go)”, where notes such as F#5, tend to come accompanied by a smiley face. The problem with the smile technique is that it stretches the lips too wide, creating not only lip tension, but also raising his larynx, causing tongue and throat tension, and finally dropping his soft palate, a cause of his nasality. His vibrato is often used as well and at times it may be a tight larynx vibrato which squeezes high notes and rather than relaxing them, closes his throat instead. The speed of the vibrato hence, may be uneven at times.
Throughout the years, he’s been able to improve his intonation and stability, his placement also isn’t as nasal and he is able to at times lift his palate and produce a non-nasal sound. His vocal ability however is many times overrated due to just how high he’s able to sing, without actually looking at how he’s able to sing this high. Pitch accuracy in his runs, a fuller rounder resonant sound by taking away the “smile” technique and evening out his mix, and truly understanding where to sing with the voice he has would be the smartest areas where Changmin could improve his vocals. However so he’s still able to correctly deliver music he’s given by his ability to harmonize and blend his voice in, showing he’s more of a group member than a soloist.
Changmin shows a lack of ability to truly change music accurately in terms of notes and rhythm. He may at times sing things differently, but that will generally cause uncertainty and lack of confidence, which result sloppy runs, transitions and overall tone production. He does not generally try and change music, which shows an awareness of himself, however does not allow him to further develop him as a vocalist and musician.
Label (Type of Vocalist)
C Vocalists: Commercial Vocalists
Vocal Range Video(s)
Some notes are wrong, only A2 ~ Bb5 is in his range. (Eb6 could or could not be his voice)
Videos by bxiaiao
Re-Analyzed by Ahmin (Kitsunemale)
(Originally analyzed by Chung)