C#3 ~ A5 (2 octaves and 4 notes)
F#3/G3 ~ B4/C5
F#3/G3 ~ D5/Eb5 (with head voice)
Strengths & Achievements
- Second strongest vocalist in Wonder Girls
- Able to keep consistency in support up to B4’s and C5’s
- Balanced and extensive use of mixed voice even as high as A5
- Arguably one the better lower ranges amongst k-pop female vocalists
- Able to keep support down to G3 with good projection and at times F#3
- Able to eliminate nasality in her voice
- At times able to switch into a head voice
- Intonation has improved since debut
- Stylistically able to choose in between falsetto and head voice
- A healthy vibrato is present in her head voice and lower belts
Points for Improvement
- Her stability and intonation can at times fail and make her sound shaky
- Nasality can still be present in her voice
- Above D5, tends to use more falsetto than head voice
- Even though she is able to mix very high, notes above C5 are generally done with a high larynx and tense tongue
- She loses consistency in tone production below F#3 although some tone is still present down to F3 and E3
- Her falsetto hasn’t been showcased to its highest peak, suggesting a lack of control/confidence in that register
- Runs can often be sloppy and lazy
- Voice can lose laryngeal openness thus becoming very small and slightly yelled
- Lower register: Able to keep a stable larynx even as low as F3 and E3 with an excessive airiness in tone. Notes above F#3 are generally supported and well projected, with full cord connection and very consistent in tone production.
- Mixed register: Resonance may at times be achieved on lower fourth octave notes, but generally are just small and not full/round enough. Able to mix even as high as A5 but with improper technique above C5, where her voice finds its peak of proper support.
- Upper register: Shows the ability to use a connected head voice at times up to D5/Eb5 and is able to choose when to use head voice or falsetto even as high as G5, however the higher she goes, the more laryngeal space is lost and tension increases as she ascends in her falsetto.
Possessing quite a high and light voice, YeEun’s voice shows more ease with runs than heavier voices would. With that said, she still lacks the full control of her voice and for a good majority of the time her choice of vocal ornaments can end up quite uncontrolled, sloppy and messy. Her notes aren’t quite clean in separation and tend to be more so guessed than fully connected with a smooth legato line. At times she’s able to do very accurate and clean runs, such as the one in the beginning of “2 Different Tears“, but most of the time her runs are quite sloppy like in “Girls Girls“, “When You Believe” and the runs at the end of “2 Different Tears“. She shows more control in her agility in her falsetto than in her mix and chest voice.
Recently debuting as a soloist, Wonder Girls’ lead vocalist YeEun is an artist who possesses a very unique sounding voice. A slightly bright and sharp tone, she has quite a piercing quality to her voice. She has always been a very daring vocalist who attempts many difficult ballads and high notes and has actually shown improvement during her career as a Wonder Girls member and as a soloist.
YeEun’s lower range is one that stands out amongst her peers in the idol industry of female vocalists who simply only care about high notes. Although YeEun has quite the fame for being a high belter, her voice really does shine quite considerably with the above average development of her lower range. Although an area that was not often highlighted in Wonder Girls’ songs, she made the right choice when composing her own songs for her solo debut and had 3 out of the 7 songs in the album highlight her lower range even as low as E3. She’s been able to then show just how developed of an area of her voice it really is. Even though she descends to E3’s in her solo songs for a good amount of time, she still doesn’t show full support and cord connection that low in her range. Her voice tends to lack support and full control on E3’s and F3’s, where stability isn’t present even though tone is still there. When she ascends to F#3 her tone starts to become quite clear and her support becomes more present but only 100% consistent from G3 and above, where her voice is well placed and well projected as she ascends higher. Her lowest note to date was a quick airy C#3 in the live performance of “When You Believe“, showing that below E3, the control is mostly lost and tone is almost not present.
As she ascends into her mix, YeEun shows a quite clear control of how heady or chesty she wishes to make her mix in terms of balance, and can oftentimes transition easily into her head voice. She tends to have a chestier quality on her mid belts up to B4 and C5 and eventually is able to brighten up and place her mix into her head allowing for it to extend even as high as A5. The control however is often lost above C5, where although the mix brightens up, the larynx goes up as well, making her swallowing muscles and tongue close the back of her throat, creating a tight almost strangled sound, not allowing the freedom she should have in her higher notes. Although her C#5’s and D5’s aren’t too strained, the higher she goes, the tighter and more tense her voice sounds, only adding to the yell-like quality she gets as she gets to F5’s, F#5’s and above. It’s worthy to note that her mix is indeed very high and developed, however the technique used to approach that part of her voice is still quite faulty and creates a lot of tension and damage to her voice.
The upper extension of her voice is one that shows potential development and at times control. She is able to use a connected head voice up to D5 with no obstructions nor tension and even then is able to keep going higher with head voice even as high as G5/G#5. However due to the same problem she has in her mix, her head voice starts becoming slightly closed and shows obstructions in the overall openness and production. She often chooses to use a falsetto above Eb5 and it becomes slightly tense and a bit breathy but due to her ability to show both head voice and falsetto, it can be assumed it’s all stylistically done. Her overall agility becomes cleaner and more flexible in her head voice and falsetto, showing more control and ease when she lightens up her voice rather than when she tries to use her chest or mix.
Yeeun’s main faults are the tension she adds into her notes above C5 and her lack of ability to fully place her voice in her mask correctly when trying to sing full lines or doing vocal runs. Oftentimes her voice will be obstructed and not project properly when she tries to do vocal runs and her higher belts become thin and placed inside her throat more so than out. Her overall dynamic control is present and her support is there for notes such as B4 and C5 where she’s able to mix lightly or more heavily adding more edginess to her voice. Her overall control in her breathing can be faulty causing her to sound choppy and unstable live, even acoustically, where she will sound pitchy and not focused in sound, such as in the live version of “Stay Together“.
YeEun is a vocalist who has shown a lot of interest for songwriting and further developing her artistry, being able to compose and play piano, she is very dedicated to her craft in music and shows a lot of potential as a singer-songwriter. She seems to understand most of her voice and knows where and what she can sing and can’t sing for a determined range but is yet to fully develop the potential of her voice and range she possesses by learning to correctly support her voice and using the proper technique to achieve a a fuller sound in her overall voice. She is a dedicated musician and has the potential to grow much more as an entertainer and respected songwriter in the music industry.
YeEun is a more daring vocalist who tries and adds different interpretations to her covers of songs, however so due to the lack of technique, her added runs can many times be pitchy and out of place, often sloppy and many improvised high notes can come out strained and flat/sharp. She has however improved in this area and shown a better understanding of her instrument through her own music writing and composition, allowing more control of her voice and musical choices within her own songs and covers.
Label (Type of Vocalist)
MH Vocalists: Mid-Range Head Voice Vocalists
M Vocalists: Mid-Range Vocalists
LR Vocalists: Low Range Vocalists
Vocal Range Video(s)
Video by: kitsunemale—
Analyzed by Ahmin (Kitsunemale)