E3 ~ F#5 (2 Octaves and 1 note)
*Might be wider
B3/C4 ~ G4/G#4
- Able to support her voice when she sings softly
- Possesses enough vocal tone to sing through songs without a flat sound
- Able to produce decently supported B3’s and C4’s in her lower range
- Able to mix with enough support up to as high as G#4
- Able to transition into her falsetto without losing too much of the overall key center of songs
- Good enough hearing to be able to stay in key singing acapella for the most part
- Glottal and swallowing muscles are overly active in her singing, causing a lot of tension
- Larynx raises above G#4 and tension is clearly heard
- Strains throughout most of her range
- Support is weak in her lower range, most of her low notes are airy whispers
- Vibrato is wobbly and unstable
- Intonation isn’t always correct, can often sound flat and off key
- Vocal runs are sloppy
- Nasality is present throughout her singing
- Falsetto is often airy, disconnected and weak in tone
- Even within her supported range, her mix can sound closed and strained when she tries to add more power to songs
- Legato is sloppy, often sounds slightly chopped up in her singing and speech-like
- Her singing is generally whiny, thin, strained and screechy
- Vocals have declined in quality over the years
- Lower register: support is almost inexistent and under explored as she descends into her lower range. Her voice is stable and produces tone around B3/C4 with support, but as she descends into A3 the support and stability become weaker until they finally dropped completely below A3.
- Mixed register: her mixed voice is developed enough for her to be able to extend her mix even as high as F5. Even then, the actual technique behind her mix is flawed, as the placement of her voice is heavily done in her nose, her throat is tight, tension is seen throughout all of her mix voice, even sometimes at the bottom around G4/G#4.
- Upper register: Arguably a more comfortable and developed register than her lower and mix registers. In this voice she’s able to produce more relaxed notes and keep a more stable tone without as much strain, showing an ease when transitioning into her falsetto registers and minimizing vocal strain that way above A4. Falsetto register is still very airy and disconnected.
Possessing a light voice, her voice could and should be able to do vocal runs with more agility than a heavier voice. Due to the lack of proper vocal technique employed in Jungah’s overall singing, she does not possesses the necessary skill to sing through complicated or even simple vocal runs with enough pitch accuracy. However so, she still has good enough pitch to be able to more or less slide the notes through vocal runs if necessary, with a sloppy delivery and even though the pitch is close, it isn’t quite hitting the notes correctly nor separating them correctly. An example of this would be the vocal run in Irreplaceable.
Officially debuting with After School in 2009, Jungah was regarded as After School’s main vocalist and before the addition of Raina, she was in charge of the most challenging lines and the highest notes. As time went by, such notes given to Raina, whose vocal skill is far superior to what Jungah has presented from the beginning of her career. Possessing a light, bright and high voice, Jungah has always had ease with hitting high notes and has been able to stretch and strain her way into the middle 5th octave, allowing for her to belt out high notes when needed. Such skill is more associated with the fact that she naturally has a high sounding voice, sitting in the Soprano range, more specifically a light lyric soprano, like most females in K-pop. Even with the potential to be able to be vocally skilled by having a naturally extensive mixed range, Jungah never showed much consistency with keeping her technique polished up throughout her career.
The bottom of Jungah’s range, actually, used to show more consistency in tone and in support than it does now. Perhaps due to lack of warming up or it being early in the morning, Jungah had moments of being able to show tonality down to F#3 in earlier performances, such as in “채념“. Such vocal placement was never a consistent achievement and even in that performance her lowest note, E3, showed lack of support, placement and vocal cord connection, becoming airy and muted when hit. As she ascends above the F#3 range, more recently, Jungah is able to show enough vocal tone for the pitch to be recognized, but the overall connection of the vocal cords isn’t present, the support is shallow and the overall placement isn’t forward enough so that her voice can project the lower part of her range, causing the airy low notes to often be lost in the mix when performing live, such as the G3’s of “My Bell“. The only true part of her range where she has shown enough consistency of tone is the end of the third octave and beginning of the fourth octave around B3 and C4, where her voice shows support is able to carry through with better placement, such as in “그남자, 그여자“.
The mixed part of her range is where she is able to show the most extension and the most tone, but also the least amount of consistency and support. Back when she first debuted, sometimes her overall tone production wouldn’t be too strained and she’d be able to hit B4’s with enough consistency of tone and support, such as around in “비밀번호 486“. Even then, strain was apparent in her voice. More recently, her vocals have gone slightly down in terms of quality and support, causing for her to show many more moments of vocal strain within a low range. As a Soprano, the bridging area of her voice should start somewhere around the F4/F#4 range and go up as high as F5/F#5 before her needing to transition into a more head-dominant placement or head voice. The issue with Jungah’s technique is that even a C5, the beginning of the area where a woman’s blooms voice regardless of voice type, is a challenging note for her and even notes close to C5. Her overall mixed voice is more on the head dominant side, with a lot of throat tension causing her to sound yelled and strained as she attempts to sing higher notes such as the E5’s of “Diva” and C#5’s of “잘 지내고 있죠“. Compared to her B4’s closer to debut, her more recent attempts at hitting such notes have been met unsuccessfully, with her sounding closed, tight and strained such as in “너때문에” and “총맞은 것 처럼“. Even as low as G#4 and A4, Jungah still shows sign of tension in her swallowing muscles, with glottal tension and a tight sounding, constricted sound in her mixed voice such as in “잊지말아요“.
Her most comfortable register would be her falsetto register, where her voice finds most ease and is able to switch into more often to avoid vocal strain. When she sings softly, for the most part, she tends to switch around A4 and retain a relaxed, airy sound to her singing that doesn’t cause her too much vocal strain. Her voice isn’t always skilled when transitions, showing issues with connection of vocal cords and airiness, such as in “사랑과 전쟁“. In other occasions and more recently, switching into falsetto even as high as E5 proves less challenging and she shows some skill with a bright falsetto tone, such as in “귀여운 너“, even though there’s a heavy backing track being played. Her falsetto is overall, however, unstable, inconsistent, airy, disconnected and nasal.
The biggest issues with Jungah’s vocal technique are her lack of ability to properly keep her throat open, voice well placed, swallowing muscles relaxed, tongue relaxed and breath support so that she doesn’t sound whiny, strained and constricted. Due to her inability to keep correct breath support, her tone ends up often sounding strained, whiny, pushed and her voice becomes small in sound, with a wobbly, unstable vibrato and a lack of proper support. Her overall technique causes her voice to always sound limited in range, strained and for her to have issues hitting higher notes. Her lack of technique causes her to have little to no interpretation skills, her lack of vocal dynamics, ability to control her volume, her textures in tone and her placement causes her sing to often sound the same and for her to be limited to a C4 ~ G4 range in terms of where her voice shines the most.
Sadly it’s safe to say Jungah is one the weakest main/lead vocalists amongst current female idols. Her lack of vocal technique causes her to even be below the arguable former lead vocalist of After School, Kahi. For the future, if Jungah is to leave After School and go solo, the best route for her to take would be for her to be on a hiatus for sometime to work on her singing technique so that she can develop every single aspect of the basics of singing before she can venture into the solo career she may have in mind. She has potential with a wide enough range and a natural ability to hit high notes, all she needs is to recreate good singing habits and start from the beginning to fully find the true tone and color of her voice.
Vocally, she may not be exceptionally skilled, however in terms of musical sensibility, Jungah is not too weak in skill. She can, if needed, harmonize and keep a consistent vocal line in the right key while harmonizing with another vocalist, even if said vocalist is to mess up or go off, such as in a live acapella harmonization of “Shine“. Even then, she lacks the necessary vocal skill to properly create her own musical changes, vocal lines and rhythmic ideas into her own song performances, showing a lack of creativity in her vocal skill.
Analyzed by Ahmin (Kitsunemale)