D3 ~ B5 (2 octaves, 4 notes and 1 semitone)
G3 ~ C5/C#5
- Strongest vocalist in SPICA
- Consistent resonance is produced
- Voice shows support up to C5 consistently
- Support down to G3/G#3 consistently
- Has been able to support her voice down to F3
- Good pitch and sense of key
- Good control of dynamics and stylistic approaches
- Great harmonizing and blending skills
- Transitions well into falsetto
- Able to sing slow and mid tempo simple runs
- Aye (애) and Oh (오) vowels generally causes tension even within her supported range
- Larynx raises above C#5, causing strain
- Runs can be sloppy
- Lowers larynx below G3 to produce tone
- Jaw tension present in the mixed voice
- Head voice isn’t produced, falsetto is mostly used
- Bad tongue position in the upper mixed voice
- Incorrect breathing technique, breathes into her chest a lot
- Lower register: Her lower range retains good support and placement down to G3 consistently and even below that, she is able to keep tone and project in her lower range. However that is often done by slightly lowering her larynx and straining her voice.
- Mixed register: Mixed voice is strong in volume and produces consistent resonance up to B4 and C5 with consistency and occasionally support is present up to C#5. Voice is often pushed and shows jaw and tongue tension in her mix, high larynx above C#5.
- Upper register: Falsetto is mostly used although transitions are well done. Most of the time the falsetto is airy and at times produces a fuller tone, above F5 her throat closes in her falsetto register. Head voice isn’t produced.
With a light and bright voice, agility becomes an easier goal for a vocalist like Bohyung. Although not necessarily taking much influence from R&B music, Bohyung is capable of producing considerably accurate vocal runs in her voice when done so in a slow and mid tempo, such as in “Who You Are“. When the runs become more complicated or faster, Bohyung’s note separation turns into sliding through the notes and that ends up causing her pitch center to be lost, such as in “Lost Stars“, “Break Away” and “No Diggity“. Bohyung also shows an understanding of her own voice and instead of trying to add unnecessarily complicated vocal runs that she can’t sing properly, she instead often simplifies vocal runs in her vocal performances, such as in “Officially Missing You” and “미아“.
Debuting as a member of SPICA in 2012 as one of the main vocalists, alongside Kim Boa, Bohyung has been able to make a name for herself with a group of capable vocalists and acapella group. She is often the most highlighted vocalist when it comes to high belting and as the youngest member, carries the group with more responsibility. Her voice is placed high in pitch and range, allowing her to take on the most challenging lines without as much strain to her voice due to her extensive mixed voice. Due to the high pitch of her voice and the placement of her range, it is safe to say she’d most likely be classified as a Light Lyric Soprano.
Her lower range is mildly developed with good tone and projection. It’s one of her better registers, being able to vocalize with ease and relaxed even down to G3. Her tone isn’t even lost when she sings below G3, being able to retain tone and project even down to D3, such as in “Officially Missing You“. She has been able to show support in studio down to F3, such as in “Let It Go“. That support however lacks consistency, as she’s often heard struggling to keep a neutral larynx in her lower range, such as the F#3’s in “난 널 사랑해” and F3’s in “Break Away“, and at other times lacks stability in keeping her vocal cords connected, such as the F3’s in “늦은 후회“. Her support however is very consistent above F#3, being able to show a relaxed and forward full sound in her voice, such as the G3’s in “Officially Missing You” and “행복한 나를“, and the G#3’s in “순수“.
Her mixed voice is the most extensive and used part of her voice. She is usually the one who takes on the most challenging and highest notes in SPICA’s repertoire and for the most part, the only one who can handle them the best. She has shown over the years that she’s able to produce consistent resonance in her mixed voice, with fulness in tone and a forward sound as high as C5, such as the Bb4’s in “난 널 사랑해“, B4’s in “Let It Go“, “It’s Raining Men“, C5’s in “Let It Go“, “Let It Go (Studio)“, “그대안의 블루“, “삐에로는 우릴 보고 웃지“, “이유 같지 않은 이유” and “남주긴 아까워?“. The issue with Bohyung’s technique is that she often causes constriction in her sound by tensing up her jaw and swallowing back her tongue, causing the tension to overcome her sound and hinder her resonance. Support is however consistent up to C5 and she has actually been able to support C#5 at one point, even if inconsistently, in “삐에로는 우릴 보고 웃지“.
That however is not usual, as she usually pushes her larynx up and closes up her throat above C5, such as the C#5’s in “누구 없소“, D5’s in “Right Here” Eb5’s in “You Don’t Love Me“, E5’s in “Who You Are” and G5 in “깊은밤을 날아서“. Her high larynx issues often cause her to strain her voice a lot and overuse it above her comfort zone, which can eventually take a toll on her voice and damage her vocal health. Another issue of hers is she may at times strain even within her supported range due to incorrect vowel shapes in her throat and muscle memory that leads to tension being brought up to her mix, such as the Aye (애) vowel C5 ~ C#5 in “행복한 나를“. Her mixing is generally very well controlled and in the occasions she’s sung with a brighter mix without trying to add artificial tension to create “power”, she’s able to properly support her voice with ease and a light mixed voice sound.
Her falsetto range is one that isn’t necessarily developed but still is easily transitioned into and relaxed within a comfortable range. She has shown many times that she is able to go back and forth between her mixed voice and falsetto registers without any noticeable issues or lack of smoothness, such as in “Just A Feeling” and “Lost Stars“. As high as F5, even though her falsetto register lacks connection and produces a generally airy and small sound, she’s able to keep a relaxed sound without much strain to her voice. However above F5, she tends to show a more closed throat shape, keeping her voice tighter, a higher larynx and a more pushed approach to her falsetto, such as the G5 in “화“, A5 in “Blue Rain“, Bb5 in “When You Believe“, and the B5 in “Lonely Night.” This is generally a less used register but she seems to be the one vocalist in SPICA with the most extensive falsetto register, therefore mostly taking the highest falsetto notes when required to. Her upper register never truly shows the connection or resonance of a true head voice, making this her least developed register.
Musically, Bohyung is a sensitive vocalist who’s able to hear musical changes well, blend her voice well with others and accurately use vocal effects and dynamics in her vocal performances. She does have issues with her breathing technique, never truly using her diaphragm to its full potential for better breath support and often breathing into her chest. Her vibrato is produced well and with evenness and her singing within her supported range is usually controlled and full.
The bad habits existent with trying to push more volume and power by creating jaw and tension can eventually lead her to some vocal damage and should be addressed as soon as possible to minimize the damage over the years. As the main vocalist of a girl group, it’d be advisable that for her to gain better breathing technique and address bad habits in her mixed voice, to keep her career as a singer going strong and lasting as long as possible. Her mixed voice and head voice should be the first to be explored, in order to lighten up her mix and create a better habit of an opened throat shape in her mix.
As a vocalist, Bohyung isn’t as risky as many others would be when it comes to adding many different melodic ideas to her covers. She generally simplifies vocal runs she can’t fully commit to with precision and will mostly work with small vocal changes in her songs, such as in “Officially Missing You“. However, the highlight of her musicianship is her great ability to fully blend and harmonize well as a member of SPICA, in many different occasions showing the ability to have a great ear for pitch, blend and rhythm, such as in “Cup Song” and “Right Here“.
Above Average Vocalist
Vocal Range Video(s)
Video by: Viet Tien
Video by: Hawaiipups and kpopvocalists
Video by: eternalsilverlight
Best Vocal Performance(s)
Analyzed by Ahmin (Kitsunemale)