Kim Yeonji Vocal Analysis [Newly Updated]


Vocal Range

D3 – C6 (2 octaves and 5 notes)

Supported Range

G#3 – Eb5

G#3 – A5 (with head voice)

Voice Type

Full Lyric Soprano


  • 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.

Overall analysis

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 ““, 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“.  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.


Competent 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

(Originally analyzed by Gangertae)

64 thoughts on “Kim Yeonji Vocal Analysis [Newly Updated]

  1. ” after her departure from seeya, she has proven that she’s nowwhere near the end of her music career nor her vocal career” so sad to hear that, she doesn’t sing well as she was a member of seeya


    1. I heard their recent comeback mini album actually. I am not sure how he’d be ranked but probably from what we heard, he wouldn’t be rated as “good”. Not sure yet though.


      1. Thanks for the reply. I think his vocals is damaged now with the way he sang over the years. His vocals were so much better during the early years when he debuted.

        Liked by 1 person

      1. back then I used to think that she was pretty consistent up to E5 until her recent performances on programs such as IS. Well my ears weren’t working well then


      2. Her E5s have good placement, so perhaps you just heard that and confused it for resonance. Don’t be too hard on yourself, you were close^^


  2. Interesting that you put 나 가거든 among her best vocal performances, because I just listened to Jung Eunji’s version of it yesterday. I wonder how she did in this?


  3. I think Yeonji was consistent up to E5 and resonant F#5 in the past . I’m afraid that she doesn’t resonant well as she did . She goes down now


    1. No no, that was a misconception. She never really had resonance or support on E5 or above. Maybe good placement, but not support.


  4. In her old analysis, some one ranked her as a good vocalist and her supported range up to E5 . I don’t understand if you say her level hasn’t changeable . Is it really a mistake??


  5. Wow, I didn’t know and never heard her before. I do now. Instant fan, here.
    Plus she’s a full lyric, a rare breed in Kpop, omg. Anyway, I don’t know if you guys have been asked this before, but is there any particular reason that full lyric vocalist hasn’t really stood out in Kpop over the years?


    1. Actually, quite a few full lyrics are popular or very respected in Korea(Yeonji, Lee Young Hyun, Sohyang, Eunji, JeA, Solji, etc). I think Full Lyrics are more rare to see in girl groups than as ballad or solo artists because most girl groups go for cute approaches whereas most Full Lyrics in Girl Groups have more mature, womanly voices that are used for sexy concepts.


      1. JYP admits that he doesn’t like “amazing vocalists” but instead “vocalists who’s singing voice is the same as their talking voice.” So that says a lot about him.


      2. JYP really said that? Not that his MAMA 2015 performance helped giving him a positive image… (the second hand embarrassment is too real).


    1. You mean this video right? Yes she has high notes in this video. Next time, make sure to add a time stamp when you ask a question like this just to make sure. ^ ^ 3:20 F5 high larynx, 3:30 F#5 high larynx 3:51 and 3:55 F5’s with a high larynx. Those high notes were outside of her supported range, everything else was around Eb5/D5 and below, so she did well except for those specific notes.


    1. 4:40 Resonant Eb5, 4:45 strained high larynx F5, 4:55 strained E5, 5:11 somewhat high larynx E5 but much better than the other one, the placement was really good.


    1. So Chanwhee? The original singer of the song? She doesn’t really produce resonance in her mix, at least not here. She’s a rock singer and she sacrifices a lot of technique for that gritty and screechy quality in her mix. It’s hard for me to say Yeonji isn’t better because Yeonji has a much healthier approach to the song, she would drown her out not only for being a Full Lyric but also for having a much better approach that allows bigger resonance and healthy support. So Chanwhee doesn’t support Eb5 or anything above, so Yeonji seems better to me so far.

      Liked by 1 person

    1. 4:34 C5 ~ Bb4 ~ G#4, 4:42 C#5 4:51 Eb5 4:55 F5 5:05 E5 5:21 E5 again. Nothing new everything above Eb5 was strained and even the Eb5 had some tension but with support, it was just somewhat shrill and shaky. She’s inconsistent with Eb5 so it’s nothing new.


    1. 3:57 tense Eb5, too much throat. 4:01 Eb5 and F5, also too much throat, high larynx. 4:12 high larynx, really throaty E5. She sounds tired on those upper notes, usually she can strain them with less tension. 4:28 another strained E5. Nothing new here.


    1. 3:19 resonant C5 3:24 resonant D5 3:33 strained F#5 3:43 again strained slightly flat F#5, again at 3:48, 3:51 strained A5, never heard her mix an A5 before though that threw me off lol


    1. 2:36 resonant head voice F#5, 2:48 F#5 to A5 in head voice again resonant. ^ ^ 3:20 resonant C#5 3:34 strained F#5 3:48 another strained F#5 7:21 7:21 another resonant C#5 7:56 and 8:00 a few more resonant C#5’s. ^ ^ No problem dear.


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