Girls’ Generation’s Vocal Analysis: Tiffany [Newly Updated]

Tiffany

Vocal Range

C3 ~ C6 (3 octaves)

Supported Range

G3/G#3 ~ Bb4

Voice Type

Light Lyric Soprano

Strengths/Achievements

  • Improvement in mixing from debut until now
  • Transitions have improvement since debut
  • Resonance has happened occasionally in her mixed range
  • Intonation is more consistent and on point now than during debut
  • Able to support her middle voice well and consistently
  • Able to support her mixed voice up until Bb4
  • Notes around F#3/G3/G#3 can at times be well connected and supported
  • Can use head voice at times and is able to connect her vocal cords properly
  • Head voice has become more consistent with her solo debut
  • Has been using head voice instead of straining through songs more

Weaknesses

  • Not a smart vocalist, often sings songs that are too high for her
  • Intonation is not perfect, can still be pitchy
  • Nasality is often present in her singing
  • Musicianship can often go wrong
  • Larynx raises above B4 and throat becomes tight
  • Yells and pushes too much chest into her mix in the fifth octave
  • Lower range can be inconsistent with support and projection
  • Falsetto can sound too disconnected
  • Voice often sounds closed and pushed due to lack of space in the back of the throat
  • Vibrato is often uneven and throaty

Registers

  • Lower register: By far the strongest part of her voice is her lower range. Amongst the Girls’ Generation vocalists, Tiffany’s lower range, alongside Jessica’s, is the one with the most consistent placement and support. She is often able to support her voice down to G#3 and has been able to show support down to F#3 and G3.
  • Mixed register: A register she has learned to control and develop over the years, with significant improvement in extension but not as much in support. Larynx raises around B4/C5 and she starts to sound shouted and strained very early on in her range.
  • Upper register: Transitions into the falsetto register have become much more consistent and smoother with the years, as well as her confidence with controlling this register. The range however is still limited, the sound small and airy, and the projection is limited due to her throat being closed. She has been known to use her head voice a lot more now after her solo debut.

Agility

As a very light soprano, her voice is naturally more flexible than a voice that’s heavier in tone. The fact that Tiffany often opts to use a lighter engagement of the vocal cords, which allows for her voice to become flexible without as much effort. As an American-born Korean, Tiffany has been influenced by more of an American singing style which focuses more on high belting and runs, something Tiffany always tries to add into her music. Her agility can often be very well divided and her notes will be clearly different from one another, showing that she has a natural ability to separate notes, which can be clearly heard in the beginning of her 2007 cover of “We Belong Together“. However, such ability is betrayed by her lack of sense of pitch and preparation when doing vocal runs, since often she has the tendency to improvise her lines and adlib, which causes her runs to come out pitchy, sloppy and out of place, such as in “Right There” and “We Found Love“. She has improved this ability however, as shown when she is fully prepared and rehearsed, she can control her runs fairly well within a reasonable slow to mid tempo speed such as in “Lost In Love” and “The Way“.

Overall analysis

Debuting with Girls’ Generation in 2007, Tiffany was always known for her low and husky tone. She has always sung with a more airy tone, which causes a husky impression in her voice, and has, from the beginning, shown more ability in her lower range than in the rest of her range. As a lead vocalist, Tiffany was never highlighted as much as Taeyeon or Jessica and did not receive as many challenging lines in the beginning of her career, something that changed with time and has caused her to be put in the spotlight, something that does not match her actual difficulty in hitting higher notes and therefore could potentially damage her voice in the long run. Even then, her voice sits in a naturally higher place and is placed in the Soprano fach, having a very girly and almost pink-like tone, everything from her style, to her phrasing, to her image, just always has a girly style, something that fits the natural timbre of her voice, more closely being classified as a Light Lyric Soprano.

From the bottom of her vocal range, Tiffany has always highlighted her confidence with her lower range and not shown as much confidence in her upper range. Something that is wise from a vocalist, knowing where your voice stands and something she used to do more than she does not. Tiffany’s lower range is produced with a more husky and sometimes airy tone, but can be very well connected with her vocal cords and can be used to project well in songs. She has, inconsistently, been able to produce supported F#3’s in “Stickwitu” and in “Poker Face“, but other times would become airy and unsupported, such as in “나혼자서“. The actual support is present but the consistency isn’t and she hasn’t shown the ability to support her voice that recently, as much as she used to, losing support around F3, such as in “Bang Bang“. Her range below F#3, however, has generally always been quieter and lost in tone, with an airier tone, less volume and less projection, sounding more unsupported and underdeveloped, such as her D3’s in “반지” and C3’s and D3’s in “처음이었죠 (Love Sick)”. Her consistency is shown, however, from G3 and up, as she has shown support from her G3’s in the “American National Anthem” and”Reflection“, as well as her G#3’s in  “Love Will Show You Everything“.

Her mixed range is one where she has shown considerable improvement on, not in placement or support, but in development of the muscle coordination. The usage of thyroarytenoid muscles for her chest voice and the cricothyroid muscles for her head voice generally help a vocalist blend in the strength of both registers to create the mixed voice, something that with Tiffany wasn’t a confident skill. During the time of their debut, Tiffany would often show her inability to hit high notes with stability and would often opt for songs that either allowed for her to switch into her falsetto or she would just naturally not try to force out high notes, such as the E5’s in “All I Want For Christmas Is You” and the Eb5 in “Can’t Fight The Moonlight“. This would be apparent when she would have to sustain or hit notes in the fifth octave, such as the C5 in”We Belong Together“, where her voice sounds shouted, unstable, throaty and strained. Now this ability has improved over the years, where Tiffany has been able to make a better connection of her vocal cords and stabilize her mix to be able to extend it in range and develop her muscles to hit higher notes, such as the G5 and F5’s in “Lady Marmalade“. The problem still lies, however, on the fact that Tiffany relies on pulling too much chest voice up and using her throat too much, which often causes her mixed voice to sound yelled and loud, without any depth of tone, color or real resonance. Her voice is often very tight and closed around C5, often heard in any song where she’s required to sing that high, such as in “The Way“, as well as when she sustains C5’s, where her larynx with raise and she will use her throat to push out the notes instead of supporting them, such as in “Rolling In The Deep” and “Promise“. This results in her mixed voice and overall upper supported range being very limited in extension, only showing support up to as high as Bb4 consistently, as she’s done since her debut, with “Sometimes“, up until now with “Lost In Love“. Tiffany has occasionally been able to also produce a more opened sound, allowing for resonance in her mixed voice, such as the A4’s in “A Whole New World“.

Her falsetto range is one that has notably also improved in terms of control, whereas, out of fear of not being able to mix the higher mixed notes, Tiffany would often switch into her falsetto during her early years in her career and end up losing control of her voice and pitch, now she’s able to switch and transition with a much more smooth technique and not become completely lost in pitch. Many times, Tiffany would try to sing lines that would transition into falsetto and she would at times be able to control her pitch and even use a connected head voice, such as in”Stickwitu” and “Genie In A Bottle“, but many other times she would go flat, pitchy and not be able to control the overall pitch of her voice, such as in “Sometimes” and”Can’t Fight The Moonlight.” Also, her overall transitions weren’t smooth and she would become shaky in tone and transition into a weak airy falsetto often, such as in “Teenage Dream.” Now she is able to more smoothly switch into her falsetto and transition from her mixed voice when singing full vocal lines, such as in “All My Love Is For You” and “Not Alone.” Although the transitioning of the falsetto register has improved, the register in itself is mostly what she uses in her voice when singing above her mixed voice, and not a connected head voice. Although she has been able to use a more connected head voice a times, the falsetto register is still disconnected and airy, and she often closes her throat as she ascends in range, mostly above F5, such as her A5 in “Almost Is Never Enough” and her G#5/A5 in “여자이니까“, that was quite flat due to the tension existent in her throat. Her head voice has become more consistent over the years, such as in “Cater 2 U” but she still lacks control of it and support isn’t consistent, as shown by her solo promotions with her mini album “I Just Wanna Dance.”

Musically speaking, Tiffany her own style of singing. She has develop her own mellow, girly and fast paced singing style, often adding runs into her songs and playing airiness for effect and different dynamics. Her musically, however, is limited due to the lack of technique in her voice, causing her not to be able to control her volume when outside of her lower range and for her to always need to shout to sing higher notes. Apart from her overall range, Tiffany has improved her overall pitch and control of her voice a lot, shown by contrasting performances like “Heaven” and “The Way“. However so, pitch still can be an issue for her even until today, as well as her vocal placement, which is mostly always in her nose. Tiffany does not show a consistent understanding of how to open the back of her throat properly and lift her soft palate, creating the tension present in her mixed voice, as well as an overall closed and small sound in terms of projection due to her voice being mostly placed in her nose when singing, something that can be more clearly heard when contrasting her singing with someone with a more opened sound and a resonant placement, such as Taeyeon when they sing duets like “Lost In Love” and “Reflection“.

As an artist and vocalist, Tiffany has shown good and consistent slow improvement throughout her career as a member of Girls’ Generation, mostly to do with the basics of singing technique and connection with her voice. Even then, now that she is highlighted as more of the lead vocalist she is in Girls’ Generation and is taking more challenging lines in songs, her voice could be damaged again due to the shouty technique she uses often when singing high notes. If she is to take herself seriously as a vocalist, improving her head voice and training the cricothyroid muscles to further develop a healthier, more balanced use of mixed voice, as well as a more connected and controlled sound overall, would be the most important thing to do for her to be able to sing more challenging vocal lines with a healthy vocal technique as well as having a lasting career as a girl group member and as a possible soloist. As a singer, she has natural talent and potential, all she needs is the right instruction and training so she can develop the full potential of her voice.

Musicianship

A trend that exists in K-pop with idol singers is that mostly Korean-born singers are generally more likely to sing songs they’re intended to, with the right melody and timing, due to growing up in Karaoke culture. American-born singers, however, usually are more likely to add their adlibs to songs and to improvise more, a rule to which Tiffany is no exception. The biggest issue with this habit and trend, however, is that Tiffany has yet to really clean up her musical ideas when doing her adlibs. She oftentimes changes songs and is prepared to perform them with the correct musical changes before she performs them, so the end result is a clean, well thought-through musical change that enhances the musical and melodic message of the song, such as in the last night before the second chorus of “Call Me Maybe“, her falsetto E5 before the chorus of “Cater 2 U“, her lines at the last chorus of “Umbrella“,  to the runs and C#5 before the second chorus of “Stickwitu“. However such an ability is not always well practiced when she does not practice her musical changes before performances and tries to adlib on the spot, showing her lack of a natural ear for music when it comes to improvisations, such as the pitchy and sloppy runs in “We Found Love“, and the “American National Anthem“, although some musical ideas were nice, they weren’t always executed as well as she could due to her faulty technique and many times strain that happened when trying to venture into the 5th octave.

Rating

Average Vocalist

Vocal Range Video(s)

Videos by: Ahmin (Kitsunemale)

Best Vocal Performance(s)

Re-Analyzed by Ahmin (Kitsunemale)

(Originally analyzed by: zhx)

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About ahmin3

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

319 thoughts on “Girls’ Generation’s Vocal Analysis: Tiffany [Newly Updated]

  1. Ahmin, I’d like to ask how good is Miley Cyrus’ vocal? Since you commented on Ariana’s, I am wondering if you can have some quick remark on Miley’s too? Thank you!

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    1. I don’t know her well enough, all I know is she’s most likely an above average mezzo soprano. She has a very nice lower range, she can support at least E3 and her mix is supported up to A4/Bb4 maybe B4, she can produce resonance within that range. That’s all I really know, outside those parameters things start to become messy.

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  2. who has the best lower register among female sm artists (from the 3 active girl groups), particularly among jess, tif, luna, wendy, taeyeon, and boa…??

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      1. ooh sorry but if you could please rank the girls i listed. i always thought tif’s has a better lower range than sica but i guess im wrong..

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  3. Can I ask this question, what is the vocal rating of tiffany, taeyeon and seohyun before. I’m just curious about it. (sorry for my english)

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    1. I used to ask this question before. The answer is
      Taeyeon is above average
      Seohyun is safely average
      Jessica is highly average
      Tiffany is weak to average

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    2. I really don’t know, at one point Taeyeon was supposed to be rated above average, Tiffany maybe less than average and Seohyun during debut days maybe just average.

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    1. Um, I believe its head voice and it’s quite strained she’s pushing, but I’m glad she’s finally done a C6 because she’s a soprano and Bb5 just definitely isn’t the highest note for a Soprano. Neither is C6, but it’s more reasonable.

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      1. it’s a head voice and “quite” strained (i thought u will say so strained) ?? woww.. i’m glad to hear that lol hahaha yeahh at least she can done a C6 as a soprano..
        but will she sing that C6 live ? or it would like Taeyeon Bb5 in gemini (never been sung live) ??
        what do u think?

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      2. I don’t see why she would say it live it’s not a main part of the vocal line as it’s just an ad-lib like TaeYeon’s Bb5.

        Liked by 1 person

    1. A voz dela é bonita, a intonação dela é boa nessa performance, os melismas em falsetto no começo também não foram ruins. 1:04 Esse melisma foi meio pitchy. Os B4’s dela nessa música são melhores do que eu esperava na verdade, mas ainda sim nada de novo. Essa música é bem confortável para ela.

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      1. Em geral, sim. Essas notas são ocasionais e é muito mais confortável do que Holler, Twinkle ou You Think.

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    1. She has not improved, but watching a performance where she has to sing and dance at the same time is really not a good way to show her improvements whatsoever. 1:54 yes her mixed voice in the fifth octave is still shouty and she is running out of breath trying to sing and dance at the same time. 2:17 same here. 2:47 this C6 might actually be live, good for her. Not a good note, but good for her. Her improvement was mostly just in her head voice.

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      1. Yes I’d say so, although E5 does sound like it might be where her head voice support ends, even if inconsistently.

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  4. She’s dancing less vigorously here. It certainly sounds clearer (to me) than the above performance. How is her C6 here? It sounds more in tune where the above one sounded flat to me? I want to ask if it’s resonant but considering this is the highest note in her range I’m gonna assume it’s a no lol

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    1. Even before Tiffany’s head voice improvement, I’d already have considered her a slightly better vocalist than Soyeon.

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    1. Is “She has improvement” a question or a statement? Cause if it’s a question, the answer is no. Even if it’s a live C6, it’s not supported.

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    1. You could say Tiffany improved quite a bit, Seohyun did too, Taeyeon improved the most. That’s all I can really say.

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  5. Thank you so much for such an in-depth analysis on TIffany! I just had a quick (hopefully not nit-picky) question about the way Tiffany sings (and I’m not sure if you’ve addressed this in the analysis because I’m not sure what terms would be used to describe it lol). There’s a certain way that Tiffany will produce notes and I was wondering if you knew what it was. She does whatever that is a lot when she’s singing live (I don’t really recall her doing it in a studio version, at least to the same degree), but here’s her doing it in a performance of I Just Wanna Dance at: ~:34/35, ~:41, ~:43, and ~1:41, just to name a few instances. Is there a technical name for that? Is it bad singing technique or just a cool quirk she can do for some notes?

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    1. Do you mean the way she’s slightly closing off her throat while phrasing, which is both stylistic and her gasping for air while moving on stage/dancing or do you mean her quick ends of phrases where she cuts off the notes? The throat closing thing is just a tension thing, she does it usually when moving around more so than standing and singing.

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      1. Ah okay, so that’s the tension that was referred to in the analysis (I was trying to describe her closing off her throat like you said and it makes sense now why I only really here it in live songs and not in the studio versions). I feel so silly now haha. Thank you so much!!!

        Liked by 1 person

  6. hi!! how did she do here? its her song from SM station.. how was her low notes?? and about the high sustained notes i think B4 or C5? how was it? and ive heard that u said before that tiffany did try supporting her voice in the fifth octave, like she just plainly shouts or yell those notes.. how about now? like is she trying to support her sustained notes here even if it’s still strained? i mean, like is she even trying to like not yell or scream those notes? i hope you get what i mean.. hehe thank you!!

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    1. She just debuted with I just wanna dance, it’s not like she’ll start supporting in the fifth octave a month later while promoting and still straining in the fifth octave. The sustained was nice actually but it’s a Bb4, so unfortunately, it’s nothing new. It’s a nice song, but there’s nothing new to comment on.

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  7. her was her low notes there? and is her head voice supported there? o.O and is her transistion from chest to head voice good? like not messy? i rarely hear tiffany singing in a soft voice,cos i always hear her sing with like uhm very chesty voice? even in her middle register..

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    1. She did fine with the transitions into head voice, the song doesn’t really go lower than like G#3, so it shouldn’t be an issue.

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  8. Has she really not improved? Watching her live performances of Heartbreak Hotel, What Do I Do and I Just Wanna Dance, she’s managing. I feel like not too long ago those performances would have been tragic

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    1. It’s not exactly that Tiffany has improved, it’s just she has now been singing songs that aren’t belted throughout. They’re in a much more comfortable range where she’s singing lower and using more head voice than mixed voice when singing higher. It’s an improvement of mentality but not of technique.

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  9. hi! how did she do here? this songs has a lot of B4’s right? i dont know if she’s supporting it.. and is it possible that she improved in terms of not struggling her high notes? cos i feel like if she’s singing all these recent songs that she’d been singing these past few weeks before during likeIGAB era she would have been struggling.. https://www.youtube.com/watch?v=JtAOiM9Kry4

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    1. Tiffany has been favoring using her head voice a lot lately, which has eased the strain and tension in her singing overall. Her B4’s are still pushed, she hits a lot of A4’s and B4’s in this song, A4’s throughout the choruses and B4’s in the pre-choruses. 1:37 this reminds me of when she was singing The Way by Ariana Grande, she was learning to mix with less pushing and less yelling. This is similar to then, nice easy mixing. She still sounds tense on B4’s, but it is less throaty than before.

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  10. is tiffany using a healthier or better approach to her mixing now or is she just in a good vocal condition because, while still shouty and strained, she doesnt sound nearly as throaty as usual. ts quite a long video so the time stamps are the parts where im noticing it
    2:56, 7:40, 8:07, 12:19 (still bad but not as strangled/dying as usual), 12:24-12:26, 16:51-16:54,

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    1. I really appreciate the time stamps. All I hear is the usual tension, throaty, tight. But she does sound like she’s in better condition, so she is straining through it with good enough reverb to mask the tension to an extent.

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  11. Hi, admin!
    SNSD released a new song and a lot of people are saying that Sooyoung “improved” and that she’s even sounding like Tiffany, do you think there’s any improvement in her lines here?
    1:08 (here is where people are saying she’s sounding like Fany) and 2:08

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    1. The tone of her voice sounds similar to Tiffany, but that’s all. Her technique isn’t better, the tone is just similar sounding.

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  12. wat do u think of her acoustic version of IJWD here?
    i think her headvoice in the beginning are kinda shaky? but her upper mixed, i dont know how to explain it.. like, there’s no sharp tone? that she usually have? like it’s not as piercing as before.. i dunno if its good or bad tho.. is it possible that her mixed is still strained but not as strained as before? like she’s kinda mixing with chest dominant voice but also with air now? goosh i cant explain it.. sorry for my bad english

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    1. 0:16 was slightly flat, but the head voice doesn’t sound bad. She is being softer even than her usual. Tiffany has been doing this where she stopped trying to be a powerful vocalist and is sticking with being a head voice soft singer. She is using her head voice well to mask the strain in her upper mix, which is good news for her health even if it does not indicate improvement in her mixing. The only mix I’m hearing is only up to A4, so that’s a comfortable range for her. 1:49 that run was pitchy. She could’ve been more relaxed/more opened there. Your English is fine! ^ ^ 2:05 nice melodic changes, except for the runs ..those are messy, especially 2:12, that was really pitchy. The D5’s sound pretty tight but they’re not that chesty, just throaty. She needs to fix the way she shapes her throat because that’s what’s closing her sound and making it difficult for her to mix those higher notes. 3:09 oh hey she actually sang the C6! It’s tight, but this is definitely an improvement compared to her head voice in like 2007 ~ 2012. Her mix is softer, a bit tighter but not too bad.

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  13. I have something I’m a little confused about in terms of soprano ranges. I’m writing it here because I remember you saying it was about time Tiffany sang a C6 in IJWD because that’s something all Sopranos should be able to do, but it seems like you all get really excited whenever a soprano sings something above that. If anything above C6 is so exciting, why is it so important a soprano absolutely have a C6? I don’t know if I’m misinterpreting something, but it seems like quite a narrow margin for a necessary range.

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    1. Well it’s not like we mean it as Sopranos should be able to hit C6 and that’s it. Every female can at least get an E6 out, even contraltos. The thing is in K-pop, guys take high note battles WAY more seriously than girls so we hear a lot of tenors and some baritones going up into the sixth octave but we rarely hear girls singing that high so we get kind of excited when they do, cause it’s not as common. It’s just we feel a little silly writing their vocal ranges and ending some of them on F5, F#5, G5, G#5 or even A5. Cause yeah..that’s about as high as they’ve gone up in a recording or live, but we’re sure they can at least go up to E6, if they try and are trained slightly better to do so.

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  14. Hello! i would like to ask something.Has tiffany ever produced resonant Eb5s? And also, i noticed that Kei’s analysis is out! Thank you so much for That,I’ve been waiting for it!! Do you consider Kei to be in the same level as Sunny, as they have both supported Bb4/B4 and they have weaker lower registers than Tiffany’s?

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    1. Oh no Tiffany has never even supported notes above C5. Mhmm Sunny’s mix is healthier than Kei’s, so is her head voice which is more developed and better supported.

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      1. really??ooooh…..but if she hasn’t supported above C5, does that also mean that it can’t be resonant? Because I thought that resonance and support are different things…but im also confused so…………..And, if sunny’s mix is slightly better than kei’s , although both of them lack in the lower register, is it something like Sunny>Kei/Tiffany?

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      2. Yes well, if you can’t support a note then it can’t be resonant. Resonance can only happen if support is present, without any support there’s no way for there to be healthy resonance. You’ll find out all the answers once our chart is out. ^ ^

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      3. ahaaa, then is there any example of support without resonance? if that’s possible?? and the chart you’ve mentioned, is if going to be released by the end of the year?

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      4. Of course, support without resonance is very common. Most if not all average vocalist mostly sing with support but don’t produce resonance as they support. It’s going to be released as soon as we’re done with about 6 more analyses. 3 from me, 2 from Pandayeu and 1 from Haruko.

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  15. I’m still trying to understand how development of registers is determined because I was reviewing each of SNSD’s analysis (and Jessica’s) and it has been said many times Tiffany (and Jessica) has the best lower register of SNSD but all of them except for Sunny support G3/G#3. I know Tiffany inconsistently supports F#3 so I get that puts her above, but does determining how developed a register include how the unsupported parts sound too?

    Like Seohyun has tone down to E3 but it doesn’t really say where Tiffany, Taeyeon, and Jessica lose tone. Would I be right in saying “Seohyun may lose support at G3/G#3 but her voice remains connected down to E3”?

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    1. It does include how unsupported parts work since we’re talking about development of register regardless of breath support being present or not. You may say that but Tiffany can do that too, examples include her E3’s in “Caramel Coffee (Talk To me)” or in “Dancing Queen.”

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    1. 1:40 was the most free. They all have good chest placement but they’re all pushed. She uses way too much throat to sing so she can support those Bb4’s but they don’t sound relaxed enough. They’re popping out placement wise, like they hit the spot but then the support behind them could be so much better.

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  16. hii.. i just wanna ask if tiffany had supported noted above Bb4? even if rarely? like is there an instant that tiffany supported a B4 or C5 even if its not fully supported? like there’s tension but support is present? or she’s just consistent in bb4 and never had support above it ever?

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  17. I have closely followed Tiffany this year, and I strongly disagree with your point in her “weaknesses” section, which says that “Falsetto can sound too disconnected, has stopped using head voice more recently” – Which is very untrue and even contradicts a point in the strengths as in many of her live performances she has consistently been using head voice this year – albeit strained above E5 but still consistent in head connection, but she has shown consistency up to here in terms of support, for example the E5 in “Fool.” (https://youtu.be/rNMfOY1zw54?t=3m11s) even though it is studio, this level of support cannot be faked. Although her improvement is smaller in her mix, I think she has slight improvement. More ease and a better approach as shown in the IJWD acoustic, where she demonstrated she is much less tense and can have a more balanced approach even in the upper strained part of her mix where she used to struggle more. Also, her lower belts such as the Bb4 (https://youtu.be/VM2Y279UH7k?t=5m5s) in “Heartbreak Hotel” acoustic version are showing less tension as of recent. Although I agree B4 is far from being a consistent point and I agree she still needs a lot of work to free her mix – especially as she is a soprano.

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    1. At the time the analysis was posted, May 2015, that point about her not using head voice more recently WAS true. I should’ve edited it, you’re right because more recently she has been using head voice more often than even belting. Tiffany’s solo debut mini-album which was referred to in her strengths was released on May 2016, a year later so again it was a year difference in which I didn’t edit that specific weakness. I disagree that there’s consistency in support but there’s consistency in connection. I hear tension despite there being a connection. It is true that her mix lightened up a bit recently which isn’t going to change anything really within the analysis but it does make a difference for her within her position in our upcoming chart and her stance against other average rated females. Her approach is a bit lighter, but she still uses too much of a throat pressure to sing. I do thank you for pointing it out since it’s something I overlooked.

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      1. Thank you for editing it. Perhaps you could mention in the upper register section that her connection is much more common now? There’s not too much material on her head voice so far because of lipsynch and the fact that when she did sing live, it was IJWD and above E5/F5 her head voice gets much tenser. She worked really hard to improve her vocals for IJWD, I just kind of find it a shame that she didn’t improve more… but I’m hoping with this slow progression she should be able to eventaully get at least F#3-B4-F5 as I think that’s perfectly within her reach. But I agree she still has a problem with throat pressure I hope she’ll relieve that eventually but I know a big improvement is unlikely sadly

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      2. I’m sure it is within her reach she just needs to right training method. I’ll see what I can edit when I have time to check.

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      3. thank you for listening and we can only hope she improves because her tone is one of my favorites. I’m just going to pray her coach if she has one gives her good guidance

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  18. I’m honestly so concerned for Tiffany’s vocal health. She had vocal nodes before and I feel like she wasn’t given enough time to recover and they don’t seem to be giving her enough training in healthy singing. Like sometimes I feel like she overuses glottal stops (??). Her legato is very weak and she’s generally unsupported. In the long run, she could damage her voice and I want to be listening to SNSD until I’m 60.

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  19. what does supported really means? i cant quite understand. also, if i may add😂, how to sing with your diaphraghma the right way? because, everytime i do, it just turned into chest voice moreoften. pardon the english.

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    1. I am not sure what you mean by it turns into chest voice more often, then that’s not likely to be you using your diaphragm. Don’t push when you try to use your diaphragm. In our Criteria page we explain support as “How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.” In other words, being relaxed, having no tension and letting the vocal cords be strong enough to control your voice when singing with no tension, with fulness and proper development.

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    1. 0:55 a few Bb4’s with a few of pushed B4’s, 1:07 strained C#5’s for Sooyoung, somewhat sloppy transition to head voice. The audio quality is really bad, it’s hard to hear clearly. Sooyoung is shallow and supports weakly but is somewhat relaxed. 2:32 Tiffany’s voice is more connected. It’s not a very challenging song for Tiffany, like aside from a few brief C#5’s and B4’s, she is using a lot of head voice. She is actually dodging the C#5’s and head voicing them.

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    1. I don’t believe I do. That run at the beginning of the chorus of I Just Wanna Dance was really messy. Unsupported connected head voice D5’s, strained C5’s and D5’s, nothing new. Her A4’s in What Do I Do are nice. They are quite well placed.

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  20. hi. i actually have no knowledge about the vocal techniques, ranges and all. but all your posts are very informative and eye opening. and i love it! its good to have all these explanations from an experts view. So recently sooyoung held the beaming effect concert where tiffany co-host the show. Tiffany performed two songs at the conncert; Sailing 0805 and I Just Wanna Dance (acoustic ver). Can you rate and comments on her overall performance? I’d love to know either she improved or not during her long hiatus. And also is sooyoung anywhere near tiffany in terms of who is a better singer? i hope i can get all these answered. Thank you for all your hardworks and keep up!

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    1. We don’t really rate performances unfortunately. I believe one of their duets was posted here in the comment sections. Unfortunately there’s been no improvement but also gladly no regression. The difference between them is fairly noticeable. Sooyoungs tone production is a lot thinner, her vibrato wobbly, her pitch quite unstable and her support weak. She tends to sound kind of squeezed as she mixes higher and her falsetto transitions aren’t smooth. Tiffany has been doing well with favoring head voice over straining in her mixed voice. ^ ^ I believe all performances were posted here so please do check the comments if you can.

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  21. Sorry to bother you but I stumbled upon these vids today

    Is it just me or did her singing here sound somewhat more relaxed and better supported than usual? What do you think?

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  22. Tiffany tem o melhor registro inferior, Taeyeon o melhor mixer e Sunny o melhor registro superior de SNSD, estou certo?
    Além do mais, qual o desempenho de Tiffany no vídeo abaixo e como você classificaria as meninas do Little Mix e 5H? Miley Cyrus hoje em dia é melhor do que Ariana Grande? Que já foi considerada até uma AA to C e hoje é apenas A to AA?

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    1. Esse é um dos piores vídeos da Tiffany. Problemas com tom, com tensão, com pitch, etc. eu prefiro não dar ratings para vocalistas que eu não conheço bem.

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  23. Hi, I was just wondering about the following notes from her concert. What notes are they and how did she do?

    Timestamp: (17:15, 40:55 and 41:40) Are they resonant? – (1:36:22) – I’m not sure if the entire part was good, but was the last part resonant or just supported? – (1:41:26) Was this supported?

    Also, if you have time, could you analyse “Moon and Sun Rise” (starts at 1:21:47), I thought it was one of her best. To me the head/falsetto notes were really clear and the held notes all seemed open and strong with vibrato. But I don’t trust my knowledge, which is why I#m asking to be sure 🙂

    If you don’t have time to listen to that then I’d just like to know if 1:23:59 and 1:27:00 was resonant?

    (Sorry if the video is too long to find the timestamps easily and sorry if the request was too long….)

    The last one isn’t TIffany, but Taeyeon. In her teaser for fine (0.11) in falsetto/head what note is that?

    Thanks so much! (Sorry if this comment is posted multiple times, I haven’t seen it pop up yet, so I have tried to post again)

    Like

    1. I’d just like to say that her disney medley, ost medley, Moon and Sunrise and Party Rock were my favourite performances here. I’m glad she was in a good condition for her concerts. I’m also just saying that there were plenty of really good notes here that I didn’t mention, so have a listen if you have time.

      The uploader has kindly put timestamps for all the songs in the description if you want to pick and chose 🙂

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    2. Let me check the time stamps:
      17:15 supported A4
      40:55 supported G4
      41:40 supported F4
      1:36:22 shouty C5 the Bb4 after was supported until she closed the vowel on the diphthong
      1:41:26 strained closed Eb5
      1:23:59 supported G#4 but the vowel could’ve been more opened and better shaped
      1:27:00 supported G#4 but it could’ve had better airflow control and management

      The note in Taeyeon’s video is a B5, pushed in head voice with too much air as well coming through actually. The comment was posted twice which is fine. Sorry that I can’t watch the full performance for Moon and Sunrise right now.

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      1. Thanks! I guess I was confusing supported with resonance then. May I ask what would have made the supported notes resonant? Does it just need to be more open?

        Thanks so much for taking your time to reply to me and everyone asking questions by the way. We all really appreciate it!

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  24. Hi again, I recently found Tiffany’s Birthday performances and would like to ask about a few notes, Mostly on IJWD

    (What do I do)
    6:20 – Does this count as a run? or just an adlib. Is this in head voice? and what note does she hit in the climax?

    (I Just Wanna Dance)
    If you have time to do a full analysis of IJWD, 7:11-10:56, but if you don’t have time, I’ll have timestamps below. I think it’s one of her best~~

    9:13 – 9:45 This entire section sounds great to me sounds really, good, I don’t know if some of the higher notes are strained or not (9:33 is definitely strained), but it all sounds stable and she seems to have executed the runs really well. Are the notes supported?

    10:05 – 10:20 The run up sounds strained, but how was the C6? it sounds like she started off a little shaky but stabled out. Is it supported? (Can head voice be supported or just connected?)

    10:41-10:43 – What is the note that she hits on ‘dance’. I can’t tell how good the note is because of the audio, it becomes quite tinny, but maybe you can tell?

    Sorry if I’m asking too much, again, I’d love a comment on the IJWD performance overall, but at your time~~ If not, it’s okay. Tiffany seems to have done really well on her recent acoustic performances, she’s so much more consistent 🙂

    Like

    1. I feel like someone asked about something like this before already. But it was her whole concert. lol An Adlib CAN be a run, it’s not like something is either an adlib or a run. An adlib just means something that’s not part of the melody, which can be high notes, low notes, runs, anything really. Those were run at 6:20 in head voice, E5’s, and up to G5 as well.

      Even though I might listen to the whole IJWD audio, I’m not really going to break it down unless there’s something really wrong. 7:44 flat. She is doing fine, her transitions can be off if they’re too quick for her but her pitch, support is consistent throughout. She makes A4’s sound really easy, it’s a huge contrast with sopranos in the weak rating. 9:16 ~ 9:20 C5’s and D5’s, strained but not too badly mixed. 9:21 messy run, really just sliding. 9:31 not that bad with that C5, then slightly flat. 9:33 really tight D5’s. ~ 9:40 again as well, strain and the lack of clarity with the runs. 9:44 really tight D5 again. So no, not supported. The runs weren’t too well executed either. 10:05 ~ 10:08 strained D5’s, 10:10 flat falsetto transition. Her head voice improved a lot, cause she would not have been able to sing a C6 just like that back in 2011. The C6 was sung with a high larynx though. The head voice can be connected and unsupported and it can also be supported and resonant. It’s a register like any other. 10:41 ~ 10:43 strained D5’s and C5’s, really tight and squeezed. 12:12 Heartbreak Hotel Bb4, supported.

      She is singing all the songs in English, it’s kind of funny. Tiffany has a very strong sense of being relaxed and supported throughout her middle range, it’s like a guaranteed average vocalist kind of standard. Supported, relaxed, decent pitch. But when she tries to do things that are more difficult, she can become squeezed, strained and messy. It can happen with any vocalist, but it’s something that Tiffany always shows me when singing. That she is definitely average, no more, no less for now. She needs a lot of cleaning up, but she has the basics down. There’s a lot to be worked on to improve her overall, her throat gets too tight, her head voice is too inconsistent and pushed. I really wish I could help her.

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      1. Lol, the one who asked about her concert was me as well, but this was from, her birthday…

        Thanks so much for replying in so much depth, I’m learning so much from this site. To me, she’s improved her head voice so much and just generally improved her consistency in these recent performances. I feel she’s reduced the notes widely out of her range and settled into her strengths~~

        I agree that she needs a lot of cleaning up. But she’s improving so quickly nowadays. What would she need to push her into A-AA? Is it consistent support on C5?

        Lastly, she always seems to struggle a lot more during comebacks. Does her nodule history mean that her voice weakens faster when she has to perform so much? Becuase the difference in these smaller performances and comeback stages are so large sometimes.

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      2. Uh huh…quick question, do you actually sit through and listen to the one hour+ concert audio? Cause that’s a lot of attention span. lol She would need consistent pitch and openness, she tightens up her throat way too soon and way too much around the B4 range and up. C5 is a simple way to put it, assuming she becomes much more relaxed, opened, can produce occasional resonance, stops letting her throat close and her larynx raise and fixes issues with pitch. That’s what support up to C5 kind of entails, so perhaps then sure she could be A to AA. I’m not sure if her nodule history would cause her voice to be fatigued more easily than others. Assuming she recovered well and the nodules are gone, she should be fine. It’s different when you get to sit down and sing with a guitar player.

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      3. No, I prefer listening to live singing, so I’ll put on concert audios or concert playlists in the background whilst I’m working. If something catches my notice, then I’ll note it down. Tiffany is one of my favourite singers, so her lives are always popping up in my playlists 🙂

        I guess going straight to C5 is kinda pushing it, I’ll hope for more consistency and occasional resonance up to B4/Bb4. Maybe when SNSD comes back~ Is that too much? She’s improved her performance so quickly, it gives me a lot of hope.

        I only asked about her nodule history, because I read somewhere that she is still on outpatient monitoring. It didn’t quote a source, but I wanted to know if there were long term effects after surgery.

        Thanks again for the concise reply! I’m still beyond impressed that you manage to run this site with just 3 people and still manage to talk to and inform the little people like me. You guys are all doing an amazing job! 🙂

        Liked by 1 person

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