SISTAR’s Vocal Analysis: Hyorin [Newly Updated]

Hyorin

Vocal Range

C3 ~ G#6 (3 octaves and 4 notes)

Supported Range

F#3/G3 ~ C#5/D5

Voice Type

Light Lyric Soprano

Strengths/Achievements

  • Strongest vocalist in SISTAR
  • Arguably, one of the best lower ranges amongst K-pop female vocalists
  • Has shown a very good steady and consistent improvement from debut until 2013/2014
  • Has generally an agile voice with adequate pitch accuracy at times
  • Can support her voice down to F#3’s and G3’s with a forward projection
  • One of the lowest ranges for female vocalists in K-pop
  • Was consistently able to produce resonant notes in her mix, up until Eb5/E5 and F5 at times in 2013/2014
  • Has been able to hit, although not sustain, supported F#5’s
  • Generally good with pitch, control and support in her supported range
  • Has been able to show musicianship and change songs around in different performances
  • Resonance is produced consistently
  • Good placement is kept outside her supported range

Weaknesses

  • Although she has an agile voice, her runs can often be miscalculated and not precise enough
  • Generally airy tone in her voice, both in her falsetto and lower to mid range
  • The airiness seems not to be controlled and may often create a raspy quality that irritates the vocal cords
  • Her support below F#3 tends to go away and her notes become quite muffled and airy
  • Although resonance has been produced up to F5, her consistency in support and bad vocal habits cause her to lose support above C#5/D5
  • She has yet to extend her range in her mix anywhere above F#5 even after her improvements
  • Nasality may be present occasionally in her voice
  • At times may close her throat when sustaining higher notes
  • Very airy falsetto that often sounds thin and unsupported, inconsistent with producing a head voice
  • At times her upper mixed notes can come accompanied by a tense tongue which causes a tighter sound than desired
  • Has shown a lot of regression in 2015/2016 in terms of vocal health and technique

Registers

  • Lower register: Although able to maintain a stable larynx at times down to E3, her support and placement lose focus around F#3, where below her voice becomes cloudy and unclear and below E3 very airy. Support is kept on F#3’s and above, however, with a very good forward placement.
  • Mixed Register: huge improvement in this aspect, Hyorin has been able to produce countless supported and resonant notes from the range of A4 ~ F#5. However so, she still lacks the stamina and consistency in support to keep every single F5 stable and relaxed. In 2013/2014 she had shown great consistency in resonance up until E5, with F5’s coming on and off with resonance or becoming strained. However lost such consistency in 2015/2016.
  • Upper Register: Most of the time she sings with a falsetto, rather than a true head voice, which causes her voice to become thin and small in projection, often sounding throaty and raspy, without connection and becoming unstable above G#5. At times able to produce a fuller and truer tone in head voice, but very rarely.

Agility

One of the most agile voices amongst K-pop vocalists, Hyorin possesses a very light and bright voice that seems to linger towards ornamentations and lend itself to embellishing her vocal performances. Her voice is able to not only be quick, but also separate and create a smooth connection between every single pitch and accurately hit each and every note in her best vocal runs. However so, Hyorin also tends to many times throw vocal runs around without really taking the time to make sure every single note lands correctly, having a very agile voice but with the lack of control and attention to detail when it comes to fully creating a clean series of ornamentations within her vocal performances. This is shown when at times, her run descending from the F#5 in “Show Me How You Burlesque” can come out clean and land correctly and at other times, will sound sloppy and without direction. Even so, she still has the ability to bounce through her notes and quickly fall back into them, showing good breath control overall.

Overall Analysis

One of the most famous female K-pop vocalists who’s not only famous for her group activities but also individually as a powerful vocals and vocal performances. Hyorin’s instrument is one of the lightest and purest amongst her peers. Her voice is very light, girly and bright, with a very pretty tone quality that at times can be soft and sexy, or at others powerful and present. Her voice sits high where a Soprano voice would sit and still retains a youthful quality, most likely close to the Light Lyric fach. Not only does she possess one of largest vocal ranges amongst K-pop vocalists, she also has shown improvement and consistent care to become a better musician, performer and vocalist.

One of her strongest assets is her developed lower range, which is one of the rarest things amongst pop vocalists in general. She retains a very womanly and present full sound in her lower register when she starts on F#3 and above, showing a stable larynx, forward mask and chest placements, projection and support. She is also able to still maintain a certain amount of tone and color even when she descends to F3’s and E3’s, although the placement and projection are generally lost. Her E3’s are also inconsistent in tone production and lose cord connection at times, example including the recent performance of “슬픈인연” where at times her E3’s would be present and at others they’d vanish into an airy tone. Notes below E3 then become fairly airy and unclear. Even then, Hyorin also is able to extend her lower range down to C3, which for a Soprano of any kind is a feat on its own and is quite difficult to do. Nevertheless without the proper support, range alone isn’t enough on its own. Generally though, as long as Hyorin stays above F#3, her lower range is projected and present, as seen from her performances of  “Listen” and “Halo“.

As a Soprano, Hyorin is able to support her voice and project much lower than is expected of a Soprano, showing an impressive amount of skill in her lower range. That skill isn’t lost as she ascends into her upper mixed range where her Soprano voices naturally sits and shines the most, though. From her pre-debut days, Hyorin was always able to show consistent amount of breath support and control on her C5’s and below, having shown an understanding of placement and resonance even then. As she debuted, she was able to often support and produce resonant notes from the A4 range to the C5 range and at times even up to D5, where her consistency would lack and her throat would often close and she would rather shout than truly show support in her mix. In earlier performances, such as when Sistar came out with “가식걸”, she would often use her throat and strain her Eb5’s even in studio.

As the years went by, however, Hyorin has shown that technique is not only important but it helps a lot. She has since made a huge progress in her approach when using her mixed voice, more so than in any other register. She has learned to eliminated nasality, which was at times more prominent in her singing, as well as learning how to better support and relax her voice so that she could properly execute higher notes. When back in the day, on Immortal Song, Hyorin’s F5’s from “그때그사람” would be completely hit using her throat, she has gone on promotion cycles with her solo debut hitting numerous resonant F5’s in her performances of “너밖에몰라 (One Way Love)”. Hyorin’s mix not only got more stable, it also got more balanced and forward, with a stable larynx and proper support. Though the consistency of tone is kept and the support is good up until Eb5, at times she shows a the tendency to close her throat on sustained belts or use her throat still on F5’s, as seen in her Immortal Song performance of “첫인상“, where some F5’s would come out resonant and some would be throaty and strained.

More recently in 2015 Hyorin has shown inconsistencies in her mix and throatiness has been present even as low as D5 and Eb5, even though good placement is kept up to Eb5/E5 at times, throatiness and glottal tension are too present above D5/Eb5 and she generally strains above Eb5, which shows some past bad habits seem to be creeping back in. After what seems to be even more of a downfall in her technique, Hyorin’s shown that her vocal approach has reverted back to her earlier debut days as a member of SISTAR. Perhaps due to a hectic schedule, bad health habits and whatnot, Hyorin has reverted back to relying very heavily on using her throat as opposed to relying on support in her mixed voice. Whereas in the past resonance was consistent up to E5, nowadays Hyorin struggles to keep her throat relaxed even around B4/C5. In that range support is kept, but there’s an underlying throatiness and airiness that follows her throughout her range. It seems that her instrument has been damaged and is yet to recover. On King of Mask Singer, Hyorin was able to show that with a lighter approach she’s still able to produce consistent resonance up to Bb4, such as in “장마” but even within the same performance, she can revert back to using her throat when trying to sing with more chest in her mix even within the Bb4/B4 range. Above C5 she tends to yell higher notes, as heard in her C#5’s in “장마“, D5’s in “미안해요” and “널 사랑하겠어“, Eb5’s in “Ma Boy“, E5’s in “Tell Me Tell Me” and “Touch My Body“, and F5’s in “너밖에 몰라  (One Way Love)“.

Her weakest register and what keeps her from improving further is her falsetto register. As opposed to staying in her modal register and using her head voice, due to perhaps stylistic choices, Hyorin generally uses a very airy and throaty falsetto, which creates a raspy sound to her voice. Even though it can work stylistically, she lacks the ability to show the fulness of tone she needs for certain songs. For songs such as her solo “Lonely”, the breathiness plays a huge part in sounding vulnerable, but in songs such as “Halo” or “Have Yourself A Merry Little Christmas“, the tone should be stronger and more well placed with proper cord connection, which Hyorin doesn’t show the ability to do. Oftentimes regardless of where she is in her falsetto register, she will create a raspy airy sound which doesn’t project as well, seen in her E5’s, F5’s, F#5’s, G5’s and even higher, where her throat then closes and creates a weaker sounding voice when reaching higher into the 6th octave.

The issue with her airiness is that, although it’s most present and obvious in her falsetto, her lower range up to her mid-low range often also sounds rather raspy and airy, not being able to fully connect her vocal cords and show the true tone of her color behind the airiness she present. Another issue of Hyorin’s and possible relation to straining is the tendency to try and sound more mature and darker than her voice is. Hyorin is one of those vocalists with very bright voices who tries to sing powerful strong ballads without having a full strong voice, which can sound as though she’s trying to sing outside of her age range. Her voice has yet to mature and for that, at times she will unbalance her mix and bring too much chest and cause a throaty approach with a tense tongue in her upper belts due to the lack of control and excessive pressure put on her throat and vocal cords to create a fuller sound. The lack of balance created by her mix might explain the reason why Hyorin has yet to show the ability to mix her voice higher than F#5, although she has stated in an interview that due to overworking and lack of rest, she used to be able to hit G#5 but now her highest note is only F#5, which could again be worked on so she could eventually mix up higher.

Musically speaking, Hyorin shows a certain degree of understanding of music. She can dynamically change her voice to adhere to every genre she chooses to sing, even though at times the throatiness may happen, she shows the ability to produce a rockier edge sound and at other times an agile R&B voice. She has the support to dynamically explore songs to the fullest, such as in “귀로” where her voice gradually grows with the intensity of the song. The one thing about it is that she still could support her voice more and create a soft yet supported sound when her dynamics are quieter, as opposed to a breathy raspy sound, being able to develop more versatility in her musical choices and approaches to interpreting songs.

Regardless of her flaws, however, Hyorin has always been one of the top K-pop idol vocalists, improving immensely with time and being able to outsing many of her peers. With an extensive lower range in support and a consistent ability to keep resonance up into her highest range, Hyorin is not only a powerful vocalist but also an overall skilled performance, entertainer, artist and dancer. She only shows improvements and at her young age, one can only expect that she will continue to improve as she ages, given the seriousness she’s shown in taking care of her instrument and her craft. Perhaps for the future, things to work on would be learning how to properly connect the vocal cords to ease the raspiness and irritation caused the breathy vocals on the vocal cords. As it’s been noted, recently there has been a regression so the best route for her would be to take time out to rest, heal and learn how to use her voice again in order to keep her instrument from being permanently damaged.

Musicianship

Throughout the years, this is another area where Hyorin has also shown care and courage to take risks. Her intonation is often a very desirable one, but just like her vocal runs that can at times come out wrong and uncontrolled, Hyorin’s vocal improvisations and changes aren’t always 100% spot on. Although she tries to add her own character to songs, she has yet to be fully confident in her melodic choices. Even then, she’s able to create interesting changes in songs, such as in more recent performances of “Halo” and “Ma Boy”, where the changes in arrangement allow for Hyorin to play more with the song rhythmically and melodically, a skill Hyorin’s been developing and is only getting better with time. Even more recently, when being free to sing an acoustic broken down cover of “Some” with Jooyoung, Hyorin was able to showcase a completely different vocal delivery from the original, showing her development in musicianship. The rest is just more practice and confidence, because she has a very attentive ear to keep her intonation on point.

Rating

Above Average to Proficient Vocalist
(Highest peak: Good vocalist prior to 2015)

Vocal Range Video(s)

Videos by : Ahmin (kitsunemale)

Video by: gangertae

Best Vocal Performance(s)

Re-Analyzed by Ahmin (kitsunemale)

(Originally analyzed by : Pandayeu, Chung2, Ahmin (kitsunemale), gangertae)

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About ahmin3

kitsunemale from YouTube, AhMin33 from Twitter and Ahmin from OneHallyu! https://www.youtube.com/user/KitsuneMale

572 thoughts on “SISTAR’s Vocal Analysis: Hyorin [Newly Updated]

    1. A total of six users have asked about this performance already so I’m going to listen to it once and give it an overall and just copy-paste for everyone:
      0:22 really nicely placed A3. Oh hey I know this song, this is a known song. I like it. Moving on anyway. 0:41 A4, the range so far is A3 ~ A4. She sounds fine, supported, comfortable. There’s a slight airy quality that accompanies her overall singing tone throughout but it’s not too much. 1:30 she could’ve dropped her jaw a bit more, it was a bit nasal but nothing too bad. 1:53 Bb4’s, still supported. 2:07 throaty falsetto C5. So far, good breathing throughout, despite a bit too much aspiration. A3 ~ Bb4 ~ C5 so far. 2:52. 3:13 slightly throaty Eb5 falsetto, the transition wasn’t very smooth or clean. 3:25 as the vibrato kicked on the Bb4 with the aye vowel, a bit throatiness came out but only because she was sustaining the note. 3:39 nicely phrased G#4 ~ A#4 ~ B4 line with support and good placement throughout. 3:45 ~ 3:50. Well phrased, could’ve been more opened. 3:51 slightly flat throaty C#5 falsetto. 4:32 C#5 into B4 into A#4. The lower part was resonant, the C#5 had good placement but the “ee” vowel closed her sound and made her show a bit of tongue tension. It could’ve been more opened overall, but good support was kept. 4:36 some throatiness came with the vibrato. 4:46 again that glottal tension kicks in as she sustains her mixed voice notes. That D5 had good placement, good support but the glottal tension was closing her throat a bit too much. 4:44 ~ 4:45 for that second, it was opened, clean, then the vibrato kicks in and the tongue/glottal tension causes her to lose openness despite having support and good placement, which makes her throat when she sustains note. 4:55 phrased supported D5 line. 5:09 the least throaty falsetto in this performance, a soft airy D5. It didn’t have support, but it had less tension. 5:27 B4 resonant until the glottal tension comes in. The performance was within the A3 ~ D5 range, aside from one falsetto Eb5. For her current skill level, this is one of her best vocal performances especially this year. It shows all her strengths with support, dynamics, breathing, placement, lower range and her mixed voice. However it also shows her weaknesses with throatiness and lack of smoothness in her falsetto, an absence of a head voice and her habit of closing her throat as she allows the vibrato to come in on sustained notes.

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      1. No, that’s not what I said at all. What I said is this performance fits exactly the standard she’s set as an Above Average to Competent vocalist. If she keeps these kind of performances, then she’ll stay Above Average to Competent. If she doesn’t show improvement, then there’s no way she’d be considered a higher rating than her current rating.

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    1. I think this is a playback of her old performance in I am a singer 3 , not her actual voice. So sad since i wanna hear her sing this song

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      1. i thought that also, but when i played it at the same time i notice that there’s a difference. Not sure though.

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    1. The note would be an F5. It’s very tight, most of that passage was tight on the Eb5 to F5, the ee vowel and wide mouth shape being part of the reason it came out so tight. After wards around 3:00 she had a really nice C#5, then a run upwards to E5 at 3:04 and then back down to a tighter C#5. The tightness happened due to glottal tension with the vibrato after the E5 and the fact that she carried tension from the E5 down to the c#5. Overall nice though.

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      1. If I say something like slightly tight then there may still be support in the note but when I say very tight then there’s no support, tension and strain.

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  1. I do believe Hyorin is now more consistent with her D5 throughout her most recent “I Like That” performance, which should move her up to the category “Competent Vocalist” with her supported range from F#3/G3 to D5

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    1. I don’t think so, because even though her D5 have support but it doesn’t have resonance plus her C#5/D5 have a glottal tension. Even though she have an enough supported range to be a competent vocalist. I’m not Ahmin.

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    2. She still has problems with sustaining notes within her supported range and her falsetto is really tense. The closest vocalist to her in skill is Eunji and Eunji can sustain notes in the fifth octave without glottal tension and her falsetto may be disconnected but it isn’t tense in her throat. Hyorin’s tension in her falsetto and the glottal tension in her sustained notes is kind of keeping her from the consistency aspect of it all.

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      1. I think it’s a new remixed version (even the dance haha)! Pretty fresh indeed!!! I think her vocal performance in that is really better compared to last year. I feel that she’s really overworked before. They had attended many events from what I heard.

        Liked by 1 person

    1. This has been asked about, I don’t remember when. The notes are all whispered below A3, Gb3’s, F3’s and Eb3’s. She was singing a lot of them, they’re really airy and whispered.

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  2. “Although resonance has been produced up to F5, her consistency in support and bad vocal habits cause her to lose support above C5/C#5” is this still relevant because her consistency raised to C#5/D5 right?

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  3. This may be a weird but especially after seeing Hyorin regress a lot…how do you maintain your vocal technique? Is technique something you constantly have to be aware of when you’re singing? This is kind of a vague question but I’m actually rather curious on how to vocal regression is prevented. Thanks a lot!

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    1. You have to constantly warm up everyday as a vocalist, you should always keep your technique in check and make sure you prepare your voice before you use it. Taking care of your instrument is important, so caring for your health is also part of it.

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    1. 1. It’s pretty cool that Far East Movement released an album like this. 2. We don’t use studio tracks to assess vocal improvement since it’s not fair. 3. It’s not a vocally challenging song, the only thing that happens is she goes down to E3 quite often. 4. It’s heavily produced so it can’t be used to say much about vocal skill on its own.

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      1. It’s been boggling my mind for the longest time, but how do you tell a supported low note from a non-supported one?

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    1. From what I noticed, yes her regression started around the beginning of 2015 and the end of 2014. That F5 is not that bad, it had some support but it was a bit too closed and placed too low in her chest, she didn’t place it high enough in her mask so it didn’t ring as well as she usually did before and it ended up a bit flat as well.

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      1. I thought tessitura is different from supported range? You said in the main page that tessitura is range where notes shine the best while supported range is range containing tessitura and other notes that are not as good but have support?

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      2. Yes it is different, but…tessitura is kind of irrelevant outside of classical music because although it may be the same for every voice type or fairly similar, in classical music the term is used assuming each vocalist has had at least 5 to 10 years of proper classical training and is ready to handle difficult music with proper technique. Considering most pop vocalists don’t have proper technique, to give them a tessitura is sort of difficult. One could say that tessitura and supported range would overlap in meaning in this case, but the reason we use supported range is because it makes more sense as one’s supported range will automatically limit one’s tessitura. Hyorin’s tessitura is almost exactly her supported because that’s where she can sing while being comfortable, although I’d say her voice does become more comfortable in the fifth octave, as any soprano would, her lack of technique above D5 really hinders her tessitura and limits her singing in that way. So Hyorin’s tessitura wouldn’t really be her individual tessitura, but instead a natural Soprano’s tessitura but due to her technique, that tessitura is very limited.

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    1. Her throat sounds kind of tight, she’s holding onto the note too tight but the placement is pretty nice. I’m not sure I’d say it’s supported.

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    1. Oh that’s where the G5 is. That’s definitely falsetto, it’s a bit throaty and too raspy, nothing too new. It’s on the better side of hers. Her G3’s were pretty nice though!

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    1. The C#5’s throughout could’ve been more opened, her softer mixed voice notes are a bit too airy and lack openness but have support. The phrased D5’s she opened up into were nice at the end of the choruses, she used more air pressure but at least she connected her vocal cords better. This version of the song is nice, the falsetto notes were very weakly connected and lacked projection, sometimes the notes barely came out.

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      1. It is too bad that she didn’t hit Soyu’s E5 in the song. Just hope her D5 is consistent now so her supported range will be up to D5 which could possibly move her to a higher rank

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      2. The tone production and consistency of the connection of her vocal cords is more important than how consistent her D5’s are since her problem is lingering tension.

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      3. The C5’s are really nice throughout. I don’t think the G5 was live, her falsetto notes seem better in this song as well.

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  4. Wow! you do analysis and answering almost every comments and do sub analysis for people ..that’s nice from you ..but isn’t this website have three admins or something are they helping you. .or they doing analysis now and you answering on comments..you friends should helping you…or at least you should lease someone to answer on comments you tell him what to write..take a rest and take care of yourself..The social media can be frustrate and make get so tired

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  5. Hi there, this may be a little out of place but I thought it would be best to post this on a fellow Starship Ent artist analysis. I was wondering how Kihyun of Monsta x (pink hair) is doing in this short bit of their recent song (Monsta X – Fighter). I am aware that you are planning to make a vocal analysis on him, but I am curious on what you think of his vocals during this performance I am sure this is sung live. Thank you!

    His better bits are during 0:32 – 0:39 and 3:00 – 3:22

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    1. Someone already asked about this video actually so I’m going to copy-paste my answer:

      “Awww thank you for the videos! They’re greatly appreciated. ^ ^ 0:34 G#4’s, lots of tension. He has a very similar approach to Daehyun but not as opened. Wonho and Shownu have a lot of singing lines, I’m surprised. 1:05 I hear shallowness and tightness in his throat around F#4’s, below that he had better support and less tension, he just starts to lose openness and become tense around F#4. None of them are very opened when they sing, everybody else aside from Kihyun is very much singing in their throats almost completely. 3:02 Hey that G#4 wasn’t badly placed at all! He was decently opened for that, better than the rest even though he’s still pushing through a constricted throat. I’m not sure I’d say I hear any improvement for his technique yet.”

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      1. But Bb4 is not really challenging for a Soprano, Hyorin should not mess with that note, so do you plan to update her supported range?

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      2. This is a video from last year, it’s completely irrelevant to her current vocal ability. Also even if it was current, one throaty Bb4 indicates bad condition, it isn’t one performance that would change her supported range. Also keep in mind her regression was already addressed and this video was one of the reasons, which was one of many.

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  6. Is it possible that singing Touch My Body’s E5 too much during 2014 caused her throat to become tired, leading to her regression nowadays? Or her E5 was completely healthy?
    What could she do now in order to improve

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    1. What she could do is addressed within the analysis. The E5’s weren’t sung in a damaging way at that time so they’re definitely not the reason for her decline. Without knowing her personally it’s hard to know exactly why.

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  7. I’m not sure because I’m no expert… but I think one of her weaknesses as of the ‘I Like That’ performances this past summer is that in the lines she sings that overlap with Soyou where in the studio version are supposed to sound almost like they are sung in the background and more light and airy while Soyou is singing, in the live performances it sounds to me like she is purposefully over-asserting her voice to the point it almost half-blocks out Soyou’s part. I’m not sure about that though, I could be wrong so feel free to correct me ^^; but to me that’s what it sounded like – and I think this might fall more under musicianship, I’m not sure, but I think part of becoming better in that area is knowing when to tone yourself down to suit a certain part as opposed to always going full-force when it isn’t necessarily called for ^^

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    1. It’s more of an incorrect way to blend her voice with Soyou’s, since Soyou’s voice isn’t very strong and can be airy, she becomes light and airy to match her and not overpower her, in studio that is. But yes you’re right, then again they’re dancing and singing together so it’s hard to control volume power.

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    1. I have seen it already, it’s her singing Have Yourself a Merry Little Christmas, right?
      “There are a lot of C5’s throughout, they’re well placed but she is just pushing quite a bit. Oh hey she went for the Eb6! It was pretty flat but hey I am surprised nonetheless, cause she hasn’t done that in a long time. The mixed notes above D5 were still a bit too throaty..her falsetto is really really throaty though. She is indeed pushing a little bit more than she needs to. Her runs are a bit messy.”

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      1. yeah that song! lol wait where did you write that tho? anyway can we consider this as improvement? I didn’t really feel her high notes post regression so I thought this performance gave me tiny hope for some legit improvement 😄

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      2. Someone asked me about it on a private message on facebook. I’m not sure I consider this improvement, it’s the same as she’s been doing in the past few months.

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      3. Yes, that’s kind of how this works. If she isn’t doing unhealthy things with her singing, it indicates better vocal development which indicates more vocal skill.

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      1. Well like I said, please read the analysis and tell me what part of it is unclear on how/what she improved. I’m not sure how long it’s been since you checked the analysis but she’s been in the Above Average to Proficient rating for a while now.

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    1. 0:52 nice harmonies, I’m not sure what she’s singing, I think she hit Ab3. Kind of quiet, but she is blending really well with him. 1:10 a bit of glottal tension on the Oh vowel but good placement throughout. Nice resonance up to Db5. Same thing for the other repeat of the chorus. This is really pretty as well, they sound nice together. I didn’t know you could change your duet partner. 1:49 nice Bb3’s, a bit soft. 1:56 I think E3, whichever note it was I hear a low larynx. 2:07 G3’s, could be more forward and less pushed down. 2:33 nice C5’s, her voice is really pretty when it comes out like this and this song really suits her in this range. 2:50 really throaty raspy Eb5 in falsetto. 3:12 glottal vibrato, which is what usually causes her tension on her sustained belts. The C5 was well placed, there’s just that tension. 3:32 not bad passing D5, but it’s the closed throat shape for the vibrato that she does. 3:35 D5’s could be more opened here, but yeah not bad. This is the highest she’s gone throughout the performance. There’s really nothing new nor different about this performance at all. Since you guys do ask about Hyorin quite often, I would appreciate it if next time you did check time stamps, checked for notes and tried to hear things yourselves since this is most definitely not your first time asking very vague questions about a whole performance.

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    1. 0:15 sloppy run. Most of this was good, well placed. A bit of a lower larynx but not bad, she was supporting and resonating throughout cause she was singing only as high as C5, then C#5 after the key change. 3:13 F5’s after this, very throaty, almost no projection. There’s a bit of glottal throat throughout cause she’s pushing her sound to be thicker than her voice naturally can handle.

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  8. Hi ahmin. Have u heard the newest performance of Hyorin on Duet Song Festival? Here it is
    Part 1 https://youtu.be/fbQb1GvHElU
    Part 2 https://instagram.com/p/BO8TVmDlDpy/
    Part 3

    Could u give a review about her performance ? Thanks!

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    1. Someone already asked about this so I’ll copy paste with a link:

      “0:52 nice harmonies, I’m not sure what she’s singing, I think she hit Ab3. Kind of quiet, but she is blending really well with him. 1:10 a bit of glottal tension on the Oh vowel but good placement throughout. Nice resonance up to Db5. Same thing for the other repeat of the chorus. This is really pretty as well, they sound nice together. I didn’t know you could change your duet partner. 1:49 nice Bb3’s, a bit soft. 1:56 I think E3, whichever note it was I hear a low larynx. 2:07 G3’s, could be more forward and less pushed down. 2:33 nice C5’s, her voice is really pretty when it comes out like this and this song really suits her in this range. 2:50 really throaty raspy Eb5 in falsetto. 3:12 glottal vibrato, which is what usually causes her tension on her sustained belts. The C5 was well placed, there’s just that tension. 3:32 not bad passing D5, but it’s the closed throat shape for the vibrato that she does. 3:35 D5’s could be more opened here, but yeah not bad. This is the highest she’s gone throughout the performance. There’s really nothing new nor different about this performance at all. Since you guys do ask about Hyorin quite often, I would appreciate it if next time you did check time stamps, checked for notes and tried to hear things yourselves since this is most definitely not your first time asking very vague questions about a whole performance. “

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    1. I really would rather nobody post instagram videos because instagram videos can only be played if I stay on the page, I can’t put time stamps, I can’t go back and if I leave the page I have to start from the beginning, so they’re not practical.

      3:11 resonant Bb4, but a bit of glottal tension. 3:17 Eb5 to F5, too much glottal tension and pushing. 3:35 G5 that falsetto isn’t that bad.

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  9. Hi, this may be a vague question but what do you think about this performance of hers recently on duet festival, “Butterfly”

    Thank you!

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    1. It’s been asked about and answered in the comment section:
      “3:11 resonant Bb4, but a bit of glottal tension. 3:17 Eb5 to F5, too much glottal tension and pushing. 3:35 G5 that falsetto isn’t that bad.” Otherwise, it’s nothing really new. It doesn’t show anything different than what she’s been doing lately. I hope this is enough.

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    1. 2014 videos should do, most of the videos used for her best high notes videos or her vocal range video live that I made, that one I used good performances where she supported and resonated F5’s, which was from 2014.

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  10. I looked for other comments about this performance and couldn’t find any, so sorry if this was already asked about. Hyorin still sounds airy/throaty, but her partner kind of amazed me. 1:42 is that supported head voice from the other girl? followed by hyorin’s super airy falsetto lol. 2:08 I think is resonant? I think 2:35 is the highest sustained belt the other girl does. Okay I’m really bad at telling if notes are resonant/supported unless it’s super obvious but it doesn’t sound that bad? At 3:43 she mixes a bit higher, what do you think of it?

    I can’t be sure, but it seems like hyorin’s partner had somewhat healthier technique than she did.

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    1. This has been asked about:
      Time stamps match this video

      “0:28 G3 that was whispered 0:39 was nicer. 1:28 these runs were nice, the second one was slightly shaky but it wasn’t bad. 1:33 2:51 there’s minimal tension, yes due to the vowel mostly but the overall note is nice. 1:55 the A3 was fine yes. 2:22 resonant B4 and all the B4’s were supported. 2:29 resonant B4. 2:43 REALLY throaty falsetto, she did not breathe properly for those. 3:10 Oh that completely threw me off, it was a random screeched D6 falsetto with a shaky closed B5 from Hyorin..like… The other girl had more volume and it was less shaky, but it was just squeezing her throat. Hyorin wasn’t much different. It was very weakly produced. 3:28 the run was nice but it could’ve been a bit cleaner. 3:31 B4 resonant yes. 3:38 the support wasn’t strong for that D5, but it wasn’t too bad. 3:49 that D5 there popped out nicely, but it’s hard to tell support wise.” Nothing out of the ordinary for that time for Hyorin, not one of her best performances to date but definitely one of the better ones this year. Again all addressed within her analysis.”

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      1. Oh, I don’t think you will answer such that fast! Thanks, it surprises me because Hyorin can support F#3 but she still can sing G#3 with slight low larynx.
        And you didn’t answer my second question, you do think Hyorin has jaw tension in 1:11?

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  11. I am curious, this video is released on Dec 25th 2012 and i can see Hyorin could not get her throat relaxed and got throaty from D5 in 3:08. She pushed a lot. However Gone Not Around Any Longer was released in 30 Jan 2013, just one month after this video and she has already been able to support Eb5 with resonance. Can improvement be that fast????

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    1. No she couldn’t produce resonance right when that song was released, cause the studio ones were throaty too. It’s possible to fix the approach that quickly since her placement did get better. Her D5s weren’t that throaty in this performance either.

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      1. Her improvement is extremely admirable…i can see a big difference between Hyorin at the end of 2012 and Hyorin at the beginning ò 2013. Her technique sounds considerable different
        What do you think about her regression? Like is the illness she had in the end of 2015 and the beginning of 2016 the reason, or is the lack of practice and proper support the reason?
        Has she achieved “muscle memory” for vocal technique? She has done supported F5 in the past, so is it easier for her to regain it than before her improvement?
        Sorry for too many questions :v

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  12. This is Sistar newest performance of I like that. I wish i could show the time stamp but i heard there is tension and throatiness within her present supported range in the whole performance (for example 0:15) so many times that i cannot remember it all, sorry 😦 . Am i right about the tension and throatiness? Did she regress again? Is the D5 in the climax supported?

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      1. MHmm it’s okay. If it wasn’t for the pushing of the glottal muscles, the brightness of her mix would help her a lot.

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  13. Hello this me again. This is Hyorin live per in the Us. How was her F5 at the beginning? Again i have to apologize for using Instagram video but i have found one that the F5 appear right at the very first second, so you dont have to wait any moment and u can still start over without having to wait
    Thank you

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    1. Honestly I am not sure why, I think it’s because there isn’t a one single performance from the 2014 era that was good enough that I’d put it as her best vocal performance, I could put one from One Way Love though.

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    1. I’m not sure what you mean by usual, to me it’s squeezed. I’ve heard a different fancam where it’s clearer and she has a high larynx, a tighter throat than one would hope and she’s pushing.

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