D3 – C6 (2 octaves and 5 notes)
G#3 – Eb5
G#3 – A5 (with head voice)
- Nasality is almost never present in her singing
- Sings with a very balanced mix with even resonance up to Eb5
- Well developed head voice
- Good control of her voice in her supported range
- Can transition into head voice without difficulty
- Strong, healthy vibrato is almost always present in her supported range
- Notes above Eb5 in her mixed voice are usually shrill with a high larynx
- Vibrato on notes above Eb5/E5 is often laggy and uneven
- Notes below G#3 are usually unsupported and accompanied with a low larynx
- Notes at the top and bottom of her supported range can have stability issues
- Head Voice becomes tense and tight above A5
- Compared to the rest of her voice, her lower register is considerably less developed
- Lower register: Her weakest register by far. Supports well down to G#3, below this she stops supporting and loses proper larynx position. Tone either becomes airy or forced.
- Mixed register: Well balanced with bright, even resonance up to Eb5 and occasional good placement on E5. Well developed and even outside her supported range good placement is kept even if the support is lost.
- Upper register: A very developed head voice with good control up to F#5, and resonance up to A5.
Despite being a lyric, Yeonji does not have a very agile voice. Often times, Yeonji will attempt runs that often come out without pitch accuracy and an unclear melodic idea, as in “If I Ain’t Got You” and/or lose power and projection even in her supported range, such as in “The Last“. Stylistically speaking however, Yeonji is more of a ballad singer and does not generally attempt complicated vocal embellishments nor the addition of vocal runs and instead opts for a more dynamic approach and her highly acclaimed high notes.
Former main vocalist of Seeya, and the newest rookie of Immortal Song 2, Yeonji is known for being a very good and well respected vocalist. Yeonji has always stood out as the one member in Seeya with the biggest sound, something that comes from her naturally larger sound input in her instrument and a more womanly tone, indicators of her fach as a Full Lyric Soprano.
Being a soprano, Yeonji overlooked developing her lower register and as such it is her weakest register becoming unsupported with a lowered larynx below G#3 and at times losing stability below Bb3/B3. Oftentimes her voice becomes unclear and muffled below G#3, such as the E3’s in “정“, or just forced out with a low larynx, such as the E3’s and D3’s in “If I Ain’t Got You“. Around and above G#3, her tone is a lot more present and generally she is able to project with a much more stable and well placed sound, such as the G#3’s in”이젠 그랬으면 좋겠네” and A3’s in “가슴 아파도“.
Her mix voice, however, is developed very well being balanced all the way up even outside of her supported range. Being a very trained register, she is capable of producing a large, even resonance as shown by the B4s in “나 가거든” , the C5s in The Last, the C#5s in “넌 또 다른 나” and the Eb5s in “꿈에“. Unfortunately, Yeonji loses proper technique above Eb5, pushing her larynx up causing a very notable lose of projection and resonance as well as an uneven vibrato resulting in strained E5s such as in “”이젠 그랬으면 좋겠네“” and F5s in “남남북녀“. This isn’t to say that she loses support around E5, on the contrary, she remains quite well supported even up until then. However due to her bad habits and unnatural vibrato, she tightens up her throat and closes the sound with a high larynx due to her vibrato when singing above Eb5. Despite this, she is able to vocalize in that range without much fatigue even belting up to G5, demonstrated in “Tears“, though this has a much more strained, pushed sound compared to when she vocalizes in her supported range, such as in “나 가거든“.
To compliment her well developed mix, Yeonji has also trained her head voice rather well. Yeonji shows great support and control being able to transition from a belted B4 into a crescendo E5 in “나 가거든“, to effortlessly floating up to F5 and F#5 in “잃어버린 우산” and producing a large, resonant A5 such as in “Musical“. Once she goes above this, there is tension causing the notes to become shrill and thin as heard in her C6, such as in “그래도 좋아“.
Musically, Yeonji is not much of a show off vocalist and doesn’t try to sing all over her range. Instead she is a very sensitive vocalist who conveys her emotions well through the user of proper dynamic approaches, accompanied by an amazing control of her breath support, allowing for very smooth crescendos and diminuendos, alongside a very healthy vibrato. Her setback in this case is the lack of support she has in her upper mixed notes that she relies on a lot, which could damage her if done too often.
Yeonji’s ability as a vocalist has gained her the respect of many, opening up a school for singing that taught hundreds of students who flocked there because of her name alone. Yeonji has made a name for herself by singing well along the likes of Davichi, T-Ara, and even Brown Eyed Girl’s JeA and shows a goal to continue her life in the world of music. Even after her departure from Seeya, Yeonji has proven that she’s nowhere near the end of her music career nor vocal career.
Yeonji has a good ear, knowing how to properly convey feeling in her vocal performances. Despite this, she does take a lot of risks when singing such as vocalizing out of her supported range and attempting runs that she is unable to handle, exposing her weaknesses as a vocalist and leaving out her ability to fully control the more musical and experimental part of her sound as a musician/vocalist.
Proficient to Good Vocalist
Vocal Range Video(s)
Video by: chung2F5
The Eb6 in the video is a C6*
video by: Pedro_0508
Best Vocal Performance(s)
Analyzed by Haruko & Ahmin
(Originally analyzed by Gangertae)