Son SeungYeon’s Vocal Analysis


Vocal Range

C#3 ~ Bb5 (2 Octaves, 4 notes & 1 semitone)

(Possible can go higher)

Supported Range

G3/G#3 ~ F5/F#5

G3/G#3 ~ G5 (With head voice)

Voice Type

Full Lyric Soprano


  • Even resonance from A4-F#5
  • Great sense of musicality/dynamics
  • Great musicianship
  • Great Placement in the mix register
  • Amazing sense of pitch
  • Very resonant sound in the mix register
  • Fairly balanced mix
  • Relaxed falsetto up to G5
  • No weak registers


  • Lowered larynx below Bb3 at times
  • Weak sound below G#3
  • Inconsistent Resonance/Support above F#5
  • Runs can occasionally be off
  • Has not showcased a true head voice
  • Minor pitch issues


  • Lower register: In comparison to her mix and head register her lower register has been proven to be her weakest and most underdeveloped register. SeungYeon’s lower register is borderline weak only being able to carried down true support to Bb3/B3 even then the notes can lack a true resounding tone. Below Bb3 SeungYeon pushes her larynx down to create a fuller more “soul” tone instead of truly supporting at times but is able to support her voice down to G#3/G3.
  • Mixed register: This register is definitely her most developed and trained register. It is very easy to tell this is where she is most comfortable as her voice shines and blossoms in this area. Her mix is so well trained that even resonance is carried from A4-F5/F#5, which is her support range in her mix.
  • Upper register:  In this register she has shown skill to be able to switch from a airier falsetto to a more connected and solid sounding head voice. Though the vocal fold connection in the head voice is present the resonance is not, or just very small resonance. She has shown she is able to keep a relaxed up to G5 in both head voice and falsetto, but above that the voice obtains a slight tension.


Son SeungYeon is more of a vocalist that chooses to embellish her songs with impressive high belts, phrasing, and dynamics rather than filling her performances with many complicated runs, but that doesn’t mean she doesn’t try runs every now and then. When she does attempt runs she tends to go for more complex and fast paced runs rather than slower less complex runs. An example of this would be her performance of “하속생” in which she claims to be taking a more “Black Gospel” approach to the song. The main run is a pretty complex run that she pulled off pretty well. But her runs don’t always go as intended like in her performance of “Mapo Station” the attempted has a very slide like feel and there isn’t much distinction between notes, nonetheless the run is still falls under the “complex” category and there is always room for error. Overall SeungYeon has shown she is capable of doing complex runs with proper technique.

Overall Analysis

Son SeungYeon has been impressing the country of South Korea with her ever voice ever since her television debut on the “The Voice of Korea” in 2012.  Despite her young age of 21 she has showcased a very strong and developed technique especially in her mix along with her own style of singing.

SeungYeon is a soprano that definitely prefers to do high soaring belts more than anything else when she sings. This is evident in almost every performance as she almost always sings above E5 in all of them. But this is completely appropriate for her as she is able to keep a resonant and supported sound up to the F5/F#5 and is able to maintain good placement up to A5. Her mix is her most developed register and she uses it to her fullest. SeungYeon is capable of keeping even resonance from A4 to F5/F#5 which is true skill. This means her voice doesn’t lose power or sound uneven in her whole supported range in the mix. Because SeungYeon is a light soprano her voice has more of natural take off at the Eb/E5 area which very apparent as her notes in the Eb-F#5 area have very nice ring and ping to it. Notes above F#5 have slight shouty quality because instead of letter her support mechanism take over she pushes them out. A example of this would be the G#5 in “못 찾겠다 꾀꼬리” she does multiple G#5s at the end. The G#5s though properly place have a slight shouty quality because she’s pushing. There is also a lack of volume because she isn’t completely supporting the notes. The G#5s are also short in length so that may have also contributed to the small sound. SeungYeon is also very skilled at phrasing high notes for long lengths of time. This is because, majority of the time, she is using pure diaphragm support therefore her throat and vocal cords are doing very minimal work. Because of this she has exceptional vocal stamina.

SeungYeon’s lower register has not received as much attention as her mixed register, which is understandable because as a her being a Soprano the lower register is not where she would project and resonate the best in. Her lower register extends down to C#3 which isn’t exactly standard for a Soprano it falls more on the extensive side because many Sopranos tend to give up around the Eb3-F3 range. Of course her C#3 is pretty much air, but it still counts. She supports her voice fairly well down to G#3/G3. She’s fairly consistent with her support in the lower register as well so those notes tend to always be done properly. Below Bb3 she may push down her larynx to create a fuller sounding tone instead of truly supporting and better use the support mechanism to create the full sound she’s looking for. Even though she is singing with a lowered larynx she begins to lose sound below G#3.

Although SeungYeon’s head register is not nearly as developed as her mixed voice, it is not as weak as her lower register either. In this register she switches from using an airy stylistic falsetto and a little to no resonance head voice. She has shown the ability to ability to carry up a head voice up to G5 above that she has only shown more of an falsetto voice. The reason why her head voice shows little resonance is because she’s not strongly connecting the support from the diaphragm and  the placement isn’t as good as it could be.


Son SeungYeon has an extremely eclectic musical styles always showing off a wide range of music style and musicality. SeungYeon is able to pull off slow-tempo ballads like “The Light of Hope”, fast-tempo songs that require intense belting like “못 찾겠다 꾀꼬리, and even more gospel-esque styles in “하숙생”. Pretty much any kind of style she tries she pulls off. In almost all her performances her most outstanding quality is her high belts. In almost every performance she sings above Eb5, but she does this in a tasteful way as all of the high belts make sense in what she’s doing and is used a more emphasis. She also understands the power of phrasing as she plays around with that often in her performance using airier tones to create a softer effect, connecting phrasing in a long legato lines, switching between lower,mix, and head voice and much more. She also understands the importance of dynamics as she lets songs build off of that. One thing for sure SeungYeon definitely knows how to put on a performance.


Good to Great Vocalist

Vocal Range Video(s)

Video by: Edgar Cárdenas

Analyzed by Pandayeu

90 thoughts on “Son SeungYeon’s Vocal Analysis

  1. I was waiting for this one! I’ve been keeping my eye on her since she first appeared on Immortal Songs. She has amazing potential and it’s always a pleasure to watch what she performs. Still, I can definitely understand what you mean about her lower range getting wonky as well as some of the “shoutiness” in her upper register. She’s still young, though, so I’m confident that she will continue to improve and show the world what she is capable of.

    I see that you wrote that she doesn’t yet have a “true head voice.” If I understand the post correctly, that statement is referring to reduced resonance in the head voice due to off-placement and looser connection. What would you say she could work on to improve that? (Sorry if that’s a dumb question, but I’m still very much a novice)


    1. Yeah, she’s only 21 she has plenty time to improve and her technique is already really healthy so she’s in a really good shape to improve her voice.

      Yes, she’s lacking a full, ringing, resonant head voice for those reasons.


      1. I’ve been waiting for Son Seung Yeon, and finally it is out! Thanks for uploading the analysis and I knew that there is something special about it! By the way, she is not 21 years old. She said on immortal songs 2 2015.3.28 that she will be 23 this year.


    1. So did I, but something was REALLY bothering me about her lower register. I noticed I never heard her complete lower register..I’ve only heard it up to A3. So I asked the creator of the video if he could find me so Bb3s and B3 from her. And when I found those notes..there was such a difference between those and the A3 below range. The Bb3/B3 range had a more natural sound, with a neutral larynx as compared to the range below which had a fake, fuller sounds caused by lower the larynx. But because I never knew what she sounded like actually supporting her lower register I thought the A3/G#3 were supported. So yeah, it was just an issue of re-evaluating.


  2. What do you mean by “Has not showcased a true head voice”?

    I have a general question, heh. Can a person who’s considered an average vocalist be better than another average vocalist? For example Jessica and Seohyun are both ranked as average to above average, so why do people think Jessica is a better singer? Or why was Jessica a main vocalist while Seohyun was a lead if they’re both equally talented?


    1. She hasn’t a showcased a full,resonant, ringing head voice. She just has connection, no resonance or very small resonance.

      Definitely. Well, as of right now..SeoHyun and Jessica are even, but Jessica was better at a time even with SeoHyun being the same Average to Above Average area. This was because Jessica was more consistent that SeoHyun. It’s all about consistency.


  3. “SeungYeon’s head register is not nearly as her mixed voice, but not as weak as her lower register.”

    This sentence is missing some words (as “developed as” her; but “it is” not) and the “Overall Analysis” section title isn’t the right font size.

    “It is very easily to tell this is where she is most comfortable as her voice shines and blossoms in this area.”

    “Easily” should be “easy” in this sentence.


    1. I was supposed to beta this for pandayeu but I overlooked those details, thank you for pointing them out. It was my fault for not reading it carefully.


  4. hey guys!! I have a suggestion🙂 why not write in the criteria what makes a register of the voice “weak, average, well developed, good …”
    I know you guys wrote for each voice type the supported range , but I think if you would describe what makes a certain part of the voice developed or not would make it easier for the readers to understand how the vocalist did score in the category that he did fall in .Because you already did say “One well developed or two/three somewhat developed register well balanced” (this in the competent vocalist case) .. so actually describing what makes a register be well developed would be great (in my opinion).
    Of course the reader should also be aware that registers alone won’t acuretly determine someones category , always have to balance out and take both – /+ into calculation .
    hope I don’t come of as a nagging little …..😄 just a little suggestion , because I do apreciate this site .

    P.S. this was a good read again !! ^^ ( looking trough the comments is what made me think of what I said above )


  5. Wow, Good to Great… as expected of “Monster” Seungyeon. I’ve been waiting to hear your thoughts on her since I first saw her on Immortal Song ^^ Thank you for analyzing her!


  6. Her singing style reminds me of typical Filipina singing style (tends to belt a lot, instead of adding melisma or improvisation, and has a weak chest register. For instance, Jonalyn Viray has a really good mixed register, achieving optimal resonance even at G5/G#5, but her chest register is really bad, sounding airy below Bb3.


      1. Actually, it happens most of the time, even in US and in Philippines. LOL. I think the explanation here is idol singers tend to sing stylistically, hence sacrificing the proper technique most of the time.


  7. I finally had good net and I checked the IS2 full episodes I have missed, and there’s that 7 Divas Special in which Son Seungyeon and Lee Haeri were brought in and they told them to do stuff while they were in the waiting room
    Son Seungyeon was asked to hit high notes in a rock posture and manner and she mixed up to G#5 at 19:51, I guess she couldve done better since she was asked to scream it in a rock way but how was it ? was it pinched or yelled ?
    on the other hand, Lee Haeri was asked to hit a highnote in a ‘clean’ way and she slided up to B5 with her upper extension at 33:55, was it with falsetto or head voice ?


    1. Yeonji had better placement and took in a better breath on her G5, but Seungyeon has the better support and mixed above above Eb5, so the multiple F5’s and the G5 are less strained. They both have very good placement though.


  8. hi, here’s shannon’s version of ” i have nothing ” from 150911 Asia Music Network yesterday,

    and Seungyeon also covered this song in immortal song

    i wonder how to compare those two versions?
    and i really look forward to shannon and eunji’s analyses.
    again, thanks a lot for putting up such a great blog.
    and i’m sorry about my english ‘cos i’m not a native english speaker, hope i got all the grammer and spelling right.


    1. Nein, was meinst du? Du kannst sehr gut Englisch. Ich habe schon etwas wie ein Analyse über die Performance Shannon auf Englisch geschrieben, deshalb kopiere Ich was ich schon geschrieben habe hier:
      “Right in the beginning she was a bit flat but that was like taking a wrong breath and being nervous, it was like very subtle. 0:22 that G3 was just airy. 0:29 so nice when her vibrato doesn’t come from her jaw. 0:42 another G3 was just air. 1:09 very nice A4, resonant. 1:14 resonance and support are present on the D5. 1:21 the F5 into the D5 carried the tension over and she stayed kind of tight. The chorus is full of resonance. 2:14 that run wasn’t bad, it could’ve been a little better tho. 2:21 that E5 has support for sure, but it’s a little bit less comfortable for her. 2:23 that run transition wasn’t as smooth and precise as it could’ve been. 2:40 was nice. 2:58 that was kind of nice, but she lost the timing after, she didn’t breathe in properly for the D5 and was kind of tight. 3:36 she’s a bit tight, it could be the vowel and that she wasn’t well warmed up for this performance cause she sounds slightly derped out like tired or not 100% in shape compared to other ones, but she’s doing well. 3:45 at least she mixed the F#5, it’s quite tight and back into the Eb5. 4:00 was quite tight. 4:16 she kind of derped out on that transition. 4:29 this run is not smooth at all but the head voice is nice, relaxed and even up the G#5. She’s still definitely working on her runs. This isn’t one of her best but still, Ariana, take notes.”
      Es gibt kein Zweifel für mich dass Seungyeon eine bessere mixed voice als Shannon hat, aber es gibt ein sehr gross unterschied zwischen das head voice von Shannon und Seungyeon… Shannon hatte mehr Problemen mit den höher notes aber Sie hat es auch gut gemacht. Sie is nur 17 lol Sie hat viel Zeit um besser zu werden.
      Vielen Danke für die Interesse an unseren blog und wir versuchen es immer besser zu machen. ^ ^ Wie ist mein Deutsch dann? Ich hoffe dass ich mein Deutsch nicht vergessen habe lol


      1. hi, Thanks for your analysis, but i’m not german, nor do i understand german. you must have checked my ip and assume i’m from german? i used some proxy because there was some problem with my isp that i can’t connect directly to wordpress sometimes, so i used a proxy. i’m very sorry to cause you any confusion but i really don’t understand german.


      2. Oh sorry haha that’s awkward but that’s okay what I said was that the difference between them is considerable and Its usually to do with mixing and Shannon’s pushing lol again I apologize


    1. She really doesn’t have the quality of a Spinto. Her voice doesn’t have enough weight to it nor power. Listen to her cover of Problem or Let It Go she definitely shows off her Lyric qualities there. Really though she could be a full Lyric, we’re still kind of on the dense for that, but we all disagree about her being a Spinto soprano.

      Liked by 1 person

  9. Just a slight detail but shouldn’t the supported range be written as G3/G#3? coz well… G3 is lower…? Sorry if this is kinda annoying for pointing out:/


    1. Unlike the other full-lyric like Lara Fabian, or Lee Young Hyun, Sohyang’s timbre sound too girly to me. But she got the moderate volumn in dramatic passage, which is a sign of a full-lyric. Her vocal type is soooo hard to definite, I think she’s a full-lyric, but many ppl insists that Sohyang and Son Seungyeon is two spinto sopranos of kpop, but I don’t think so.


      1. There are no spintos or dramatics in Kpop. I literally only know of two Spintos and two dramatics in the pop world.


    1. Oh damn get that rap girl lol She doesn’t seem well warmed up enough the 2:44 E5 wasn’t so good. 0:06 0:18 F#3’s in Halo, low larynx, very improper approach. 1:16 head voice, she’s kinda whiny in her head voice, which is not too bad, at least it’s a head voice. “Hit me like a ray of sun, burning through my darkest night” pitchy. She really avoided the head voice moments, she went for her mix a lot more. 2:25 ~ 2:31 was nice. Her head voice isn’t bad, it just lacks head resonance. 3:52 kind of off..


      1. ahahaha nooo I was like “omg omg head voice!” turns out it was quite…😄

        oh and I want to share this as well

        I think 4:21-4:31 could’ve done better, no? or is it too high overall?


      2. The first notes were G#5’s, she hit a bunch of G#5’s and a quick flat Bb5, so she was really up in her screechy strained range but the placement is there. She never mixed Bb5 before so hey! lol


    1. I don’t know how to answer because we don’t give ratings like that. Just know she has musicianship and she has the ability to pull it off.


  10. What are your thoughts on her recent performance on ‘Sugar Man’

    I love her voice but some of her higher mixed register sounded strained



    1. 2:23 nice Eb5, everything up until there was really nice and the overall stylistic approach fit well. 3:53 the vowel was a bit tight. 4:12 again nice Eb5’s. 4:17 not bad F#5. I don’t hear much of an issue throughout the performance. 4:38 strained G#5.


  11. her mix is little bit similar to haeri, so does her lower. i thought that haeri F5 is good, but then seungyeon can do it too. i guess the distance between both are seungyeon has better musicianship and head register ?


    1. 0:15 oh throaty G5, good placement though. Very twangy. The performance is good as usual, she maintains an opened big sound throughout. Do you have any specific questions about the performance that the analysis wouldn’t have addressed?


      1. I was mostly interested in what you thought about the very distinct style she’s singing in, and also the high notes at the end. sometimes it seemed like she was going a bit overboard with the style and i’m not sure if it really detracts from the performance, or adds to the showcasing of her skill. also, I was wondering if she’s showing any significant improvement since the analysis was posted. thank you so much!


      2. I mean it’s a bit rougher and rockier than usual but it’s still within her parameters of technical ability, it just shows how much more versatile of a vocalist she is. 5:22 those E5’s were nice, 5:25 that was a Bb5, too high for her to support but nonetheless she could get it eventually if she worked on it. She had a couple of other Bb5’s afterwards I believe. She has not shown improvement since the analysis was posted, not that we’ve noticed from what we’ve heard.

        Liked by 1 person

  12. hey i just notices her vocal range says it’s C#3 – Bb5 but in the last paragraph talking about her lower range it says “Her lower range extends to D3”


  13. She pushes, for sure, but the grand sound is attributed primarily to size than actual resonance. One issue I’ve noticed, not substantial, is that she will shove her tongue back which will add a subtle harshness to her tone and deplete the emission of resonance. Even so, her voice naturally discharges, at the very least, a medium portion of sound whether or not she’s properly executing the notes. Her tract quite naturally allows for that to happen. I don’t like using the facher system because when you compare these singers side by side, there’s a world of a difference (primarily due to technique rather than innate vocal qualities). But if she was closer to a particular type, it’s more likely Full-Lyric. Her sound is heroic almost all throughout. I just discovered her today. I really want to say she’s an immensely flawed and underdeveloped Falcoln, but the closest to accurate that I can truly get is that she’s a “big-voiced Soprano”.


  14. Between Seungyeon and Sohyang, which one have better belting. I notice that Sohyang belting below E5 is not really full as she get higher.
    And do Seungyeon like Ailee, pushes much and get big voice since she only Light Lyric but her voice seem quite big


    1. Seungyeon doesn’t push. Very voice type may be questionable but her big sound is because of good amplification. Sohyang mixes better but notes below Eb5 are just not high enough for her.


      1. So Sohyang have higher tesitura? And one more question that: unlike Ailee or Seungyeon, mid belt of Sohyang looks less foward but rather inside, unlike her top note. I always wonder why her mid belt is not really perfect like her belt above E5 even though it has resonance. And can i ask that D5 of Seungyeon is better or Sohyang is better


      2. Well that’s because she’s developed her mix more. I don’t know the answer for which one is better and it’s more stylistic because notes below E5 aren’t powerful notes for her.


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