Apink’s Vocal Analysis: Jung Eunji [Newly Updated]


Vocal Range

C#3 ~ A6 (3 octaves and 4 notes)

Supported Range

G3/G#3 ~ C#5/D5

Voice Type

Full Lyric Soprano


  • Very well trained and consistent mixed register often carrying resonance up to C#5/D5
  • Support can sometimes be carried up to Eb5/E5
  • Knows to lighten her mix the higher she goes
  • Very well placed sound in the mix and lower register
  • Normally sings with a risen soft palate
  • Very smooth legato singing
  • Very well placed and rounded resonance on C5/C#5
  • No weak registers
  • Can maintain tone down to C#3
  • relaxed falsetto up to E5/F5


  • Mix can get too heady at times losing projection
  • Notes above Eb5/E5 are constricted with a slightly risen larynx
  • On the ‘aye’ vowel sound (애 and 에) her throat tends to close
  • Mixing technique seems to have declined a bit since debut
  • When runs are attempted they come out messy and inaccurate


  • Lower register:  Eunji’s lower register is fairly well trained and connected to the rest of her voice. She’s capable of maintaining a neutral larynx and supported sound down to G3/G#3 and maintaining tone done to C#3, however notes below G3 lack true projection and support.
  • Mixed register: Definitely Eunji’s most well trained and consistent registers. She’s capable of keeping a supported and resonant sound up to C#5/D5 and occasionally up to Eb5/ E5.  She finds the most resonance around the C5/C#5 range.  Notes above Eb5, including E5, have a more constricted and small sound due to her not truly supporting and keeping her throat open.
  • Upper register: The weakest and least explored register in performances. Eunji has an extremely extensive upper register being able to go all the up to an A6. However, even though she has an extensive head register, she doesn’t really use it in performance singing normally maxing out at G5. She also doesn’t use a true head voice normally using a relaxed falsetto.


Even though EunJi has a lyric voice when she attempts to sing runs and melisma of any kind they don’t normally come with a smooth fluid sound and pitch can be off. However she rarely incorporates runs and melisma in her performances so this problem is normally avoided.

Overall analysis

Eunji has been turning heads in Korea with her rich and full voice ever since her debut as Apink’s Main Vocalist in 2011. Eunji quickly made a name for herself as a vocalist with the fact that her voice was well showcased in Apink’s songs. She quickly became known as the vocal “powerhouse” of the group.

As main vocalist of Apink, Eunji is responsible for managing the high notes and carrying the group the most vocally and she is the definitely the member most qualified for this job. With a supported range of G3/G#3 ~ C#5/D5 great resonance in the A4 ~ D5 and a considerable amount of ease in the lower register she definitely sets herself apart from the other members of Apink. Not to mention her rich, full, womanly tone is also a great ear catcher.

Eunji has said she wishes to become a vocal trainer after her days as an idol as over which, judging by her technique, definitely is a plausible and reasonable ambition. She definitely has the vocal skill to be able to teach a student how to sing correctly to an extent.

Eunji’s mix is her most developed and consistent register. She is quite consistently capable of supporting in the C#5/D5 range and resonating there as well. She can also occasionally bring up support to E5 for example her performance of “When I First Saw You” with Yang YoSeob of B2ST.  Unlike most sopranos EunJi begins to lighten up her mix around C#5/D5 which is most likely where a mezzo begins to lighten her mix. Eunji is no doubt a soprano though, but this is alright because majority of the time she still projects properly and resonates. That being said, she still has times where she lets the head to chest ratio lean too much into the head side, making her lose projection. For example the D5  right before the E5 in “When I First Saw You.”  Even though the note is still supported, it did not have much projection because she allowed too much head voice into her mix. The E5 proceeding the D5 is actually heady as well, but she pulled the sound forward into the head and balanced out the mixing more so the projection was still there. Eunji definitely has the most resonance and ease in the B4 ~ C5/C#5 range. Notes in this range are quite consistently projected properly with a healthy and even vibrato. For example her performance of Listen from Apink’s first concert. She stays pretty consistently around the B4 ~ C5/C#5 area and handled it very well having a strong powerful vibrato for majority of the notes, good support and placement. Eunji above Eb5 does have bad moments than good especially about E5. Approaching more of the E5/F5 are she has trouble keeping her throat open especially on the ‘aye’ vowels and ‘oh’ 에,애 and 오 in Korean.  This is best showcased in her performance of ” 미워요”(I Hate You) on Masked singer.  Throughout this performance she does many E5s and F5s all of which are done with a fairly high larynx. There other examples of this like in Apink’s main title songs ex: My My. Even though the larynx is high and the throat is tight her attempt on notes above E5 are better than most because she mixing is lighter and brighter with better placement.

Despite being a soprano, Eunji has surprising comfort in her lower register.  Unlike many sopranos who tend to have weak, weightless, and airy tones in the lower register, Eunji is able to maintain a fairly solid sound with a decent amount of weight. She also seems to have no problem with phrasing low notes and going to the bottom of her lower register which she has demonstrate in hercover of “Goose’s Dream.” In this performance she sings below F3 quite frequently and still maintains a decent amount of tone maxing out at C#3.  Despite her easily being able to sing down to her lowest note, she best supports her voice in the G3/G#3 range, which for a Soprano according to the set criteria isn’t too bad.

EunJi’s head register is definitely the least explored register of her voice normally not singing very high notes in it unless she has to, like the Bb5 in “Run To You.” Eunji normally stays in the lower to upper 5th octave when using this register mainly for what seems to be stylistic purposes. This register of hers is definitely very extensive as it expands all the way to Soprano A (A6), which she demonstrated in Apink’s High Note battle. Despite all of the range she has in this register, she doesn’t support it, instead she mainly uses only a falsetto and that only has a relaxed sound up to E5/F5. Above that, she can be overly airy and tense, such as the descending run from D6 down to F5 from “Boom Pow Love.”


Eunji, like most ballad centered vocalists, focuses a lot more on the phrasing and dynamic aspect of singing more so than the pure technique part of it. She definitely colors her singing with airy vocals and soft dynamics that she can build upon within a song. She also loves to incorporate many high notes into her singing, which is something she is very well known for.  She isn’t one to color songs with runs probably because she isn’t confident while doing them.


Competent vocalist

Vocal Range Video(s)

Video by: Ahmin (Kitsunemale)

Best Vocal Performance(s)

Analyzed by Pandayeu
(Originally analyzed by gangertae)

192 thoughts on “Apink’s Vocal Analysis: Jung Eunji [Newly Updated]

    1. She did very well in this performance the range was very suited for her even though there are notes that she doesn’t support in here. She had quite a few resonant notes for example @2:35 resonant A4, as well as 2:41, resonant Bb4 @2:47 followed by resonant D5, resonant C#5 2:23, however after that part she strained the Eb5 and F5 and the sustained Eb5 at the end overall this was very good on her part. She was completely singing over the guy in some parts because her technique is so much better lol


  1. Hello! Firstly, thank you for this and all other vocal analysis’s.
    One question: could Eunji improve her ranking if she explores respectively works more on her upper register as well as an connected head voice? It seems a lot of her weaknesses are connected to her less used upper register. Thank you!


    1. It’s been asked about:

      “1:36 on the first king of mask singer video, the duet one. She was lowering her larynx on an A3, that’s very high for a low larynx to be needed. 0:21 in her solo video, she’s pushing it out of her throat. She kind of improved her support a bit but she’s still pretty much in her throat, all of those higher notes are strained and they’re just C5’s. She has support like on F4 and whatnot, but most of this was in her throat. I don’t think she’s average, I wouldn’t give her Bb4 or B4 or C5. Or A3..or Bb3. She’s either weak or weak to average from what I’m hearing.” I have seen enough of it though to say she’s most likely weak and I wouldn’t really say she’s really shown much improvement at all.


  2. I know it’s not fair to make a comparison between Eunji and Sumi cuz sumi is a real operatic singer. However i’m struke by her voice which suites pop-music well, so who does better??? How do you think about those highnotes’qualities from Sumi?
    you guys used to watch Eunji’s live cover, right? Sorry for my very crazy question.


    1. Do you have any more specific questions? It sounds like how she usually sounds, technically. The same issues as usual, 1:33 D5’s with support. As usual for her, she’s handling the song with enough ease. 3:38 Some tension on the E5, she could open the back of her throat more throughout. Awww Seungkwan is so respectful to her, that’s nice. She sounds the same as usual, there’s nothing new. 2:54 sloppy run but the C5 was really full, nice. Resonant. Nothing new again.


  3. Can you analyze Apink’s Bomi’s vocal since she appeared on King of Masked Singer before? She sang a duet of 2NE1’s “Lonely” and also a solo performance of BoA’s “Atlantis Princess”. Thank you in advance.


  4. Hi! Do you agree if full lyric soprano type voice is between dramatic and lyric soprano? I have seen someone said like that. At first, I doubt about that, but I can sense a bit dramatic-like voice weight in Sohyang and Eunji’s.


    1. There really isn’t anything truly characteristic of a Dramatic Soprano in Sohyang’s and Eunji’s voice they both just have larger volume outputs especially Sohyang. And actually between Full Lyric and Drama Soprano there is the Spinto Soprano.


    1. I mean she is dancing while singing, even if it is simple choreography. 0:31 that F5 and 0:36 other F5’s into a falsetto A5. The transition is well done, the placement of the F5’s is light and very masky, but she is squeezing her throat a bit. 1:01 F5 again, squeezed. @2:51 was C6 up to D6 then down C6 Bb5 A5 G5 F5 I believe, all in a tight falsetto. I’m glad she’s exploring her falsetto more! Wish I had included that in my vocal range video for her though. lol


    1. Her runs after that part of I Don’t Know always sound so …slowed down, she doesn’t keep them smooth. But yes resonant throughout. 2:40 was nice, soft C#5 mixed. Bomi sang F#5.


  5. Could you please tell me Chorong’s, Bomi’s and Namjoo’s highest notes that are considered singing based on their high note battle?
    There might be too much so you can just tell me the one considered singing without identifying the note🙂
    Here is the time stamps:
    Chorong: 0:39 1:52 2:01 2:35 3:04 3:48 4:01
    Namjoo: 0:56 2:03 2:07 3:19 3:24 3:30
    Bomi: 1:21 1:32 (sound like belts?)

    And I saw you say on Twitter that Chorong hit A2, could you give me the link please. Thanks🙂


    1. I was wrong, it wasn’t A2 and it wasn’t Chorong, it was Hayoung and she hit B2 in the beginning of this high note battle video that you linked at 0:05.

      Chorong: 0:39 This is screaming 1:52 C#7 but it is screamed 2:01 C7 2:35 C#7 screamed 3:04 She’s hitting C#7 the whole time 3:48 C#7 4:01 C#7
      Namjoo: 0:56 really throaty falsetto C#6 2:03 really strained F#6 2:07 strained F6 3:19 F#6 and G6? 3:24 Same 3:30 C7 but that’s hard to identify register wise, it could be just screamed
      Bomi: 1:21 That sounded like G#4 actually.. really weirdly executed. 1:32 It may be G#5, she is just not using falsetto at all…it’s odd.

      I would count Namjoo’s F#6s and the G6 as really strained falsetto but I wouldn’t count the C#7’s as singing cause then I’d count Jessica’s G#7’s as singing.


      1. I thought at 1:21 Bomi hit an A5; it sounded higher than the G#5 at 1:32. As a fan of Jessica, I’d love it if you count the G#7. But I understand lol
        thank you so much🙂


      2. She’s screaming on that G#7, so we really can’t count it…because…she was screaming and not singing.


  6. Excuse me, why aren’t F3 and F#3 considered as a part of her supported range? She lowed her larynx, became airy, lost tonality or what? The explanation in the artical is not really clear.


  7. it’s safe to say that after Dia, Eunji has the best/most developed and consistent mixed register from among the competent girls right?
    And at the time of writing, it was said that she somewhat regressed above D5. Currently, has she managed to rebound from this regression or is she still not doing as well as during her earlier years?


    1. I’m not sure because I’m not the one who analyzed them but I am not sure who’s more consistent between Eunji and Taeyeon, but we still have Wendy as a contender here. I don’t know for sure the answer for your second question, I apologize for that.


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