C#3 ~ C6 (2 octaves, 5 notes and 1 semitone)
(Might be wider)
E3 ~ G4
Light Lyric Tenor
- Extensive mixed range
- Very healthy and steady vibrato
- Control of light mix and balance mix is present
- Voice is very controlled even above his supported range
- Support is present in his lower range down to E3
- Able to support notes as high as G4 consistently
- Falsetto is usually relaxed and controlled up to C#5
- Improvement in pitch and stability
- Able to eliminate nasality at times
- Has been able to show connection with head voice
- Swallowing muscles, throat and tongue show tension quite often
- Underdeveloped lower range, often airy and quiet
- Mixed voice lacks the development of chest resonance
- Nasality is often present in his singing
- Falsetto could be more developed and is overly airy at times
- High larynx above G#4
- Vocal runs is not very accurate nor agile
- Often sings in a range above his supported range, abusing the extension of his range with improper technique
- Voice can at times be small and sound pushed when trying to create more volume
- Lower register: Generally quiet and airy, this register seems to be the part of his voice least used and where he least shows any kind of care for development. The range is also quite limited, only having reportedly shown the ability to hit C#3, his low range is generally quiet and airy, although tone is almost always present.
- Mixed register: This register is where he tries to sing the most, he abuses the extension he possesses and the fact he can go as high as F5 in his mix. Notes above G4, however, are generally strained, whiny, nasal and pushed with a lot of air and tension. He is able to control notes below G4 with support and dynamics, however.
- Upper register: His falsetto is generally controlled and shows few problems with transitions and pitch. The tone is generally relaxed up until C5 and above that, it may become whiny and tight. Although a connected head voice has been produced, he lacks control and consistency in producing head voice.
In terms of agility, his voice is able to do simple short vocal trills, bouncing up and down through notes such as in “Family Man”. However, his voice is not quite flexible enough to handle more complicated melisma-heavy R&B songs, such as his cover of “Because Of You“, where his runs would often lack precision and he would slide through runs too quickly, without giving each and every single note the necessary clarity, pitch accuracy and time. Therefore, his voice can come out pitchy and lacks the necessary agility to handle more extensive and complicated runs and ornamentations.
Block B’s main vocalist, Taeil, is recognized for being the main vocalist of a group that’s heavily associated with Rap and Hip Hop music, and as such he takes most of the challenging high notes to bring in the effect and impact from their repertoire. With a very light, bright and highly placed voice, Taeil’s voice would most likely be associated with that of a Light Lyric Tenor, in classical music standards. He has a very extensive vocal range when it comes to his mixed voice and is able to control his voice well regardless of how high he takes it.
His lower range is the one where he lacks the most in terms of projection, development and support. His voice generally stays connected with a very soft dynamic and airiness coming through, although tone is still present. It is still unknown whether or not he can go lower than C#3, but from the performances used for this analysis, he tends to stay in a range that’s on E3/F3 and above, where his voice shows the most comfort, control and projects best, such as in “넌 어디에” and “친구“. However, when taken below E3, his voice starts to become slightly cloudy and the clarity of the notes is lost due to the airy quality present in his voice, such as in “이제 난 알아요“.
His mixed and mid-low to mid-high range are where his voice shows the most control in terms of pitch, vibrato, dynamics and support. He is able to control his mixed voice to hit notes very lightly even as high as G4, with little to no tension, support and still stay in his mixed register, such as in an acapella version of “넌 어디에” and “마법의 성“. His voice generally becomes more opened below G4 and he’s been able to show the ability to lift his soft palate and allow for more opened notes such as his F4’s in “잠시만 안녕“. His voice is usually quite stable, controlled and even supported up until G4, as well as even higher than G4, his control isn’t lost. Taeil’s mixed voice is heavily head-voice dominant, which helps his mixed voice endure high notes and passages for an extended period of time without as much damage to his vocal cords. Even though his control and pitch are quite stable and accurate above G4, he has the tendency to let his larynx raise, to place his voice in his nose and to let the swallowing muscles and tongue tense up in the back of his throat and around his larynx, causing a whiny, pushed and tense sound to come out of his voice whenever he hits notes on G#4 and above. Examples would include his numerous C5’s in “Very Good” and his C5’s, D5’s and E5 in “빛이되어줘“. The main issue with this, however, is that due to how light and bright his voice, Taeil is able to strain his voice much higher than usual with a very consistent push of air pressure, causing his notes to be loud and tense, but at the same time not causing a lot of fatigue right away. However, in the long run, his voice will start to lose power and to become damaged by the improper position of the larynx and the tension existent in his throat, since he is usually given very high passages in most of Block B’s songs.
His falsetto and head register are both existent register in his voice. By having quite a high placed voice, he is able to connect to a pure head voice more easily than lower voiced males would. Although he has shown the ability to produce a connected head voice even as high as B4, in “Because Of You“, he does not show consistency in producing this register and at times may show a lack of control when transitioning into his falsetto register. Notes above C5 generally become either shaky or also come accompanied by the tension and tight throat shape he has in his higher belts, examples being his C#5 in “눈의꽃” and his D5 in “빛이되어줘“, which contrast from his B4’s in the same chorus of the song. For the most part he’s able to transition well, but at times the transition will become unstable if the jump of the intervals between the chest/mixed range he is in and the falsetto note he is aiming for is too wide, such as in “마법의 성“. As he ascends to the peak of his range, although the brightness of his voice helps him, there’s tension and tightness present alongside a whiny quality to his falsetto, such as in his “Scat Improvisation“.
As a vocalist, he deserves a lot of merit for being able to control his voice so well and being able to have improved his support, stability and pitch in singing. He used to at times sing with a less controlled voice and sound pitchy, such as in “넌 어디에“, but with time Taeil has been able to show support within the E3 to G4 range consistently. The control still stays above his supported range and due to the brightness of his voice, the strain isn’t obvious. He is also able to emote and create music well through the use of onsets and dynamics efficiently and with consistency in his supported range, with the style of a ballad singer. He only starts to lose the ability to control the volume of his voice as he ascends into his upper mixed range where his voice becomes generally loud and pushed. His vibrato is another one of his assets, which he uses consistently with a relaxed throat and support. Another drawback, however, is the general nasality present in his voice, even within his supported range, which can help place his voice into a brighter mask resonance but still hinders the fullness and potential of the true resonance he should be able to use within his supported range.
As a vocalist and soloist, Taeil shows a lot of potential to only improved if he is given the right tools and right training. He has range, a natural ear for musicality and is able to control his voice beyond his years, but lacks the technique necessary to fully grasp the potential in his instrument. Although he has the support, his improvement would mostly be eliminating nasality as soon as possible and learning how to open up his throat to produce a relaxed, opened, supported and even resonant sound all throughout his registers.
Musically speaking, Taeil tends to try and sing songs slightly differently from the original and adding his own little melodic changes and runs. He is not the kind of vocalist to change a song drastically or to show off when singing simple songs; instead he tries to stick to the original melody and add to the melody with good taste and with good ear by staying in key and pitch. Even then, his changes and musicianship still lack in terms of difficulty and can sound overly simple. An example would be the small but effective changes added to his cover of “엄마” by Ra.D.
Average to Above Average Vocalist
Vocal Range Video(s)
*The C3 is a C#3 in this video.
video by: Edgar Cárdenas
He hits C6 in this video:
Best Vocal Performance(s)
Analyzed by Ahmin (Kitsunemale)