D3 ~ D6 (3 octaves)
Bb3/B3 ~ A4/Bb4
- Consistent support up to A4/Bb4
- Can occasionally bring support up to B4
- Occasional resonance up to A4/Bb4
- Supported sound down to Bb3/B3
- Smooth legato
- Switches in head register fairly easily
- Airy chest voice
- Does not lift soft palate consistently
- Tight/strained sound above Bb4
- Inconsistent head voice
- Voice lacks projection
- Occasionally produces a tight and tense sound in supported range
- Voice below A3/Bb3 can become quite airy
- Frequent throaty tonality in the mixed voice
- Lower register: ChoA’s lower register is very comparable with the other vocalist around her skill level because she is only able to truly support her voice down to Bb3/B3 just like them. Below Bb3/B3 ChoA’s lower register loses much of the support, tone quality, and projection it once had, especially below A3. Below A3 her voice loses almost all projection resulting in a weak and airy tone.
- Mixed register: ChoA’s mixed register is the most consistent part of her voice because she is almost always consistently supported up to A4/Bb4 and on rare occasions can bring small resonance up to A4/Bb4 as well. ChoA’s mix on the upper 4th octave and 5th octave notes is very strained, weak, shrill, and throaty due to a lack of muscle co-ordination.
- Upper register: ChoA’s upper register is fairly inconsistent because she has shown the ability to use a head voice, but often than not uses an airy falsetto. ChoA’s falsetto is fairly relaxed up to Eb5/E5 and has shown head voice up, albeit strained, up to A5.
ChoA’s agility is fairly uncoordinated and underveloped. She lacks the muscle co-ordination to skillfully execute each individual pitch in a given run with accurate flow and precision. This is most evident when she tries to do more complex runs with multiple notes like in the acoustic version of “Short Hair”, though each note is heard the flow and precision is lethargic even though the run is being done in a fairly slow speed. However, in the same performance, she does a much slower run with fewer notes with better flow and precision.
ChoA made her debut with AoA in 2012 as their main vocalist in the main promotional unit as well as AoA’s band unit, AoA Black. Since her debut ChoA has made her presence as the main vocalist known by handling the groups most difficult lines and by being the lead in the acoustic/vocal performances also appearing on Masked Singer.
Although ChoA is the main vocalist of AoA, she is not a very skilled vocalist. This is because her voice and technique are not developed well enough leading her to have many problems while trying to vocalize. One of her most glaring problems is her tonality. ChoA normally produces a nasal and constricted sound that does not carry power or projection. The reason why this sound is produced is because she does not lift her soft palate, therefore no allowing her voice to resonate in the appropriate cavities in the body in addition to that her sound is also centered in the back of the throat, therefore not allowing it to project forward in the mask. This sound is evident in each one of her registers and is most noticeable when she performed “Beautiful Restriction” on Masked Singer. Throughout the performance ChoA sings with a very nasal sound due to a lowered soft palate, therefore not allowing her voice to project forward into the mask and keeping it in the back of the throat.
Aside from overall tone production ChoA’s mix has quite a few problems of ts own. Outside of her support range ChoA’s voice, due to her technique, becomes very shrill, strained, thin, and weak because of a severe lack of support and inadequate mixing, even within her supported area ChoA can have inconsistencies. Despite the inconsistencies within her supported area, ChoA has shown she is capable of producing a supported and, at times, resonant sound. For example she has shown she is capable of doing supported and non-nasal A4s. In the example provided there is quite an glaring difference in ChoA’s sound in the line immediately before the A4 and during the A4. Before her voice is very tight, nasal, and constricted, but during the A4 her throat opens up, her palate lifts, and she projects her sound forward. In addition to being to support A4/Bb4, she has even shown she can carry up a non-nasal and supported sound up to B4. What makes her inconsistent in her supported range is that she can get very throaty like during her “Empire State of Mind” performance and gets throaty and has tension on many of the A4s. In the FNC Kingdom performance of “Empire State of Mind” she, again, does many throaty and tense A4s/Bb4s and along with scratchy C#5s. ChoA above C5/C#5 is the same story as her above Bb4/B4 very tense, unsupported, and strained, but even more so.
ChoA’s lower register is quite underdeveloped only carrying true support and projection down to B3/Bb3 and tone down to A3. Below A3/Bb3 ChoA loses a significant amount of support leading to her voice having a very frail, weak, and breathy tone quality. Like most people, the further she goes into her lower register the weaker and airier he sounds gets. For example, her E3s in her performance “I Have a Lover” are essentially air; the tone quality is very weak and has absolutely no projection. Of course, E3 is a low note especially for a Soprano, but she has the same issue on G3 like in her song “Words I Cannot Say Yet.” G3 is much more comfortable for a Soprano than E3, but she is still producing a very airy and disconnected tone quality.
ChoA instead of head voice uses a falsetto due to a lack of development in the head register. Her falsetto is fairly relaxed up to Eb5/E5 above that her falsetto becomes tense and more pushed. Although she uses a falsetto production majority of the time, there have been moments in which she used head voice for instance her performance of “Without You” she does a head voice D5.
For the most part ChoA’s musicianship is similar to Korean ballad vocalist which is focused a lot around phrasing and showcase the meaning and beauty of a song. She also at times likes to incorporate a bit of rock-tinge to her singing by taking on a rougher sound by adding throatiness and rasp. When she’s not trying to sound like a rockstar she takes a much softer approach to her music singing in very smooth legato lines to carry the songs intentions.
Vocal Range Video(s)
Videos by: Hawaiipups and kpopvocalists
Best Vocal Performance(s)
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