Girls’ Generation’s Vocal Analysis: Taeyeon [Newly Updated]

Vocal Range

D3 ~ C6 (2 octaves and 5 notes)

Supported Range

G3/G#3 ~ C#5/D5 (without head voice)

G3/G#3 – C#5/D5 ~ F5/F#5 (with head voice)

Voice Type



  • Consistent forward placement in the A4~D5 range
  • Consistent resonance in the A4~C5/C#5 range
  • Consistently supported up to C#5/D5
  • Occasional resonance up to D5
  • Forward masked placed sound in the chest voice
  • Supports and projects down to G3/G#3
  • Has done supported Eb5s
  • At times head voice can be produced up to B5 and resonance up to F#5
  • Capable of doing runs with good flow and pitch accuracy
  • Healthy vibrato is produced with good support
  • Stable pitch majority of the time

Points for Improvement

  • Pitch can be inconsistent
  • Faster runs can be sloppy and inaccurate
  • Support above C#5/D5 is inconsistent
  • Lower register below G3 becomes really airy
  • Inconsistent with vowels


  • Lower register: Since her debut, Taeyeon’s lower register has improved significantly expanding from Bb3/B3 to G3/G#3 since 2007. Her lower register has far more connection and projection than it did before.  Taeyeon carries decent support down to G3/G#3, however her voice has the most projection in the G#3/A3 range. Below G3 Taeyeon’s voice becomes very airy and unsupported, but she maintains a neutral larynx.
  • Mixed register: Taeyeon has consistent support up to C#5/D5 and consistent resonance up to C5/C#5. She generally produces very open and resonant notes in the A4~C5/C#5 range and occasionally up to D5. Above D5 Taeyeon’s voice becomes tight and strained.
  • Upper register:  Although Taeyeon actively switches back and forth between falsetto and head voice it is safe to assume she uses head voice. Taeyeon, when not using falsetto, can carry a supported head voice up to F5/F#5 though not resonant. Above F#5 her head voice and falsetto become very tense and shrill.


As a vocalist that trained under The One, who incorporates many runs into his performances, Taeyeon herself has developed a fair share of agility. Though overlooked in previous years, in 2015 Taeyeon made point to demonstrate her skill when it comes to agility. The most noticeable piece is “Check” from Girls’ Generation’s Party single which is filled with numeous runs from Taeyeon, similarly “Bump It” from the Lion Heart album also features many runs from TaeYeon as do many of the songs from that album. However in 2012 Taeyeon showed she was definitely capable of doing complicated runs live with her various performances of “Lady Marmalade” with Tiffany.  Taeyeon has shown she is best suited for slow to mid-tempo runs with faster runs she tends to lose control and rhythmic flow and her pitch tends to go off.

Overall analysis

TaeYeon made her debut in 2007 as the main vocalist and leader of South Korea’s leading girl group Girls’ Generation. Since her debut Taeyeon has made a name for herself as one of South Korea’s top idol vocalist and one of their most respected singers because of her many OST with her 2008 OST “If” being her most popular and the one that put her in South Korea’s eyes as a vocalist. TaeYeon is often praised for her ability to convey emotions as a singer. Composer Yoo Youngseok expressed his feeling about TaeYeon’s voice saying “Taeyeon feels like a woman who has been divorced 7 times”, meaning she is able to sing about heart break and parting well. Label mate JongHyun of SHINee expresed his agreement with composer Yoo Youngseok’s comment about Taeyeon saying, “I also feel that [Taeyeon’s] voice sounds like a woman with lots of experience of love and parting.” He reveals that he has felt this way about her ever since they were both trainees and Taeyeon “was born with the talent of expressing her sensitivity” showing his appreciation for his  label mate’s skill.

During her rookie years, TaeYeon used more chest resonance in her chest voice; therefore causing her to have a richer and fuller tone production. However later on, she switches to a lighter, brighter and slightly airier approach.  For example in her 2008 performance of “Reflection,” TaeYeon utilizes a significant amount of chest resonance in her chest voice and mix resulting in a richer and more womanly sounding tone, as opposed to her performance of “I Love You” in 2013 where tone quality was lighter and brighter in her chest voice and mix. This change is even noticeable when comparing mixed voice notes from then with more recent ones. For example in the way she approaches the C5 in “Dear Mom.” The C5 from this 2009 “Dear Mom” performance has more chest resonance and slightly fuller tone quality, whereas the C5 from this 2011 “Dear Mom” performance has a brighter tone production, but better resonance. Her switch to a lighter approach is neither negative or positive as it does not positively or negatively affect her voice.

In her mixed register Taeyeon uses a lighter and brighter approach , especially when compared to the beginning of her career. At the beginning of her career, Taeyeon had considerable development up to C5/C#5 accompanied by a strong, forward, and resonant sound within that range. For example the C#5s in “Baby Baby” had consistent support and occasional resonance, especially the C#5 from this “Baby Baby” performance having full, forward and resonant quality. She has also produced many good notes from this era in the Bb4-C5 range as well, for example in “Want and Resent” resonating C5s. Also during this time TaeYeon supported a D5 during her radio performance of “Counting Kisses with You.”  Although this D5 in particular was not resonant, it had connected support and power. However, this was a very rare occurrence. Taeyeon’s mixed voice above C#5 was very underdeveloped at this time which resulted in many of her D5s from “Into The New World” being strained.

Fast forward to 2010 not much happened for Taeyeon technically, except for her having her first studio F5 in “Wake Up” from the Hoot mini album in 2010. In 2012 SM Entertainment introduced the Girls’ Generation sub-unit TTS featuring members Taeyeon, Tiffany, and Seohyun. The unit’s primary purpose was to showcase the vocal talents of those three members. “Twinkle”, the leading track, required Taeyeon to sing F#5s in every performance. The F#5s in “Twinkle” proved to be incredibly difficult for her; not only were they were the strained, but also many of them fell flat because she did not have vocal stamina for them. Not only was she required to sing the F#5s in “Twinkle”, but also “Baby Steps” which was also part of the Twinkle mini album. Those F#5s mirrored the quality of the F#5s of “Twinkle”:strained, pushed and flat. After consistently straining her voice during that promotion period, Taeyeon began to have difficulty singing above C#5. In 2013 Girl’s Generation released ”Dancing Queen” and “I Got A Boy” both less taxing vocally than “Twinkle” and “Baby Steps”, however she was still unable to handle the D5s because of effects of the previous promotion.Although the “Dancing Queen” D5s were all quite strained and pushed 2013 was still a good year for her vocally. In 2013 Taeyeon produced some of her best C5s/C#5s and even had some success above above C#5. For instance Taeyeon’s C5s in “Lost in Love” had a very clean resonance and even vibrato; she even managed to bring resonance and support up to Eb5 while performing “Express 999” several times.

Taeyeon has made significant improvement in her mixed register by expanding her support range from C5/C#5 to C#5/D5. The D5 improvement was first noticed in the Lion Heart album released in August of 2015 in songs like “Green Light” and “Bump It.” The sustained D5 in “Green Light” had strong support and an open sound which was very different from her D5s in previous years, and the phrased D5s in “Bump It” also had good support. Taeyeon solidified her improvment with her performances of her song”I” from her solo EP I. Moving forward, Taeyeon D5s have become fairly consistent with support, for example her D5s in “Fine”  from her My Voice album were supported with good placement having a strong and full tone quality. However, she has a tendency to push her D5s because of them being at the top of her supported range, for example her D5s from performance of “Fine” on Sketchbook. However Taeyeon has shown she is completely capable of producing resonance on D5, for example her D5 in “U R” from her Butterfly Kiss concert and her D5 in “Feel So Fine” from Persona; despite the quality of the fancams, both notes have a very supported, projected, and clear sound.

Similarly to what happened in her mixed register, Taeyeon’s lower register has improved significantly over the years, expanding from A3/Bb3 to G3/G#3. Taeyeon for a long time had issues singing below A3 as her lower register was quite underdeveloped. This was especially evident below G3/G#3. Below that her voice would become very airy, quiet, and lack projection, for example her performance of her OST “Missing You Like Crazy” in which she sings many F3s which were consistently airy and not completely pitch centered. G3’s also posed a problem for her, for example the G3 in “Promise“, though there was significantly more connection on the G3 than the F3 that followed, it still sounded uncomfortable for her to hit. In recent years, Taeyeon has become more solid and consistent supporting G3/G#3 for example her G3s in “I Got Love” had a very full tone quality and projected well as well as sounding very comfortable and easy for her. This is because the muscle co-ordination in that area has strengthen and she is also committing to her chest voice better.

Taeyeon’s head register often flips between falsetto and head voice from what seems to be for stylistic purposes.  Her head voice has a fairly decent connection and support up to F5/F#5,but above that, in both falsetto and head voice, she becomes fairly tense and shrill. In more recent years, TaeYeon has significantly improved in the G5-B5 range being able to vocalize more easily up there. For instance, her B5 in “Fine,” although strained, has significantly more openness and support than her Bb5 in “Gemini” from her mini album. In addition, she has also shown more openness and resonance towards the top of her supported range, such as her F#5s from “When I was Young” which had a very strong connection to the support system with a very pure and whole sound.


Taeyeon is not one for dramatics when it comes to her singing. She’s definitely a fan of keeping a performance sensible and well within her means vocally. She’s a vocalist that likes to carry a performance by conveying emotions through phrasing.  Taeyeon definitely is not a high flying belter, as she stays in more a medium high to low vocal range maxing normally out at F3/F#3 and Eb5/E5, which is fairly consistent with her OST’s and vocal range in Girls’ Generation albums. Although of course there are exceptions to this, as she is occasionally challenged outside that range. Taeyeon’s performance of “Moonlight” is a great representation of her stylistically choices, as range wise she stays somewhere within the G3/G#3 ~ D5 range which is very reasonable for her vocal skill. This performance showed off her resonance in the A4 ~ C#5 very well as it was concentrated within in that area. TaeYeon’s solo album is a good reflection of her as a vocalist as the songs are very different than what is on the Girls’ Generation albums. Her style seems to be more mid to slow tempo songs in a lower range. A good example of this would be “U R” with a range of E3 ~ F5 centering more around the A4 ~ D5 area, which definitely was intentional as that is where she does well.

Label (Type of Vocalist)

MH Vocalists: Mid-Range Head Voice Vocalists

MB Vocalists: Mid-Range Belters

ML Vocalists: Mid-Low Range Vocalists

WR vocalists: Well Rounded Vocalists

Vocal Range Video(s)

Videos by: Ahmin (Kitsunemale)

Video by: Avatarkyungsoo

Best Vocal Performance(s)



Analyzed by Pandayeu
(Originally analyzed by zhx)


1,079 thoughts on “Girls’ Generation’s Vocal Analysis: Taeyeon [Newly Updated]

  1. I’m not sure how accurate this information is, but it is from the author of the vocal point blog that you said that you ‘approve’. His youtube handle is mrskinnyjeanz, I think you’re familiar with him. He has commented that Taeyeon doesn’t strain her Eb5s anymore and I think he implies that they’re just unsupported. I thought that if a note is unsupported it is strained. What does it mean to only not support a note – but not strain it?

    Liked by 1 person

    1. Taeyeon definitely still strains Eb5. I don’t know why he said that because she definitely still is. Well, yes, in most cases, if the note is unsupported then it is strained because the larynx is most likely to be risen. However, support and strain are both on a spectrum so there are varying degrees of it. For example, a note can be “supported,” but there can be things like tongue tension, other kinds of throat tension, jaw tension, pushing etc. etc. which aren’t really “strain,” but definitely can prevent a note from being good or even okay.


  2. Taeyeon came back with This Christmas!! OMG It’s so good! lol
    I was wondering how she did:

    The runs @ 0:52-0:59 and 2:15-2:22
    Does she still have G3 @ 1:02 and 2:26
    Eb5 @ 3:16
    D5 @ 3:23
    Eb5 @ 3:52
    The run @ 4:06 (and was it head voice or falsetto?)
    Eb5 @ 4:10

    Would you say she could have Eb5 added to her supported range?


    1. Hi dear. Okay enough spazzing lol You know very well how we feel about studio songs. It’s nice and the Eb5’s are indeed supported in approach but unless we hear them consistently done well live, her supported range will remain the same. Her G3’s were whispered mostly stylistic Id assume and her upper range was more of a stylistic falsetto.


      1. The D5? No, it lacks openness because… isn’t a close vowel for her, it’s a close vowel, period. It’s Ee, that’s always a closed vowel. And the way she approached it couldn’t have made it anymore opened. It was supported but not opened enough to produce resonance.


      2. Wait, I’m sorry if I’m misinterpreting what you’re saying but are you saying that the way she belts in general won’t allow her to produce resonance on the Ee vowel? Or are you saying that it’s not possible to produce resonance on an Ee vowel in general?

        Liked by 1 person

      3. I’m saying that Ee is a closed vowel in general but it’s possible to produce resonance on it if she opened more but like you said it was a closed vowel for her but it’s not for her specifically, Ee is a closed vowel just like Oo. Ah and Oh opened and Aye is in between.


      4. Oh you mean like a lot of people have trouble with Ee and not just her right? I see. Thank you for your answers, I’ve been able to better identify resonant notes and not so resonant ones more lately from all your video. We all appreciate your work!

        Liked by 1 person

  3. Hi, sorry to bother you with this – as I’m sure I won’t be the only one – but there’s a song on Taeyeon’s new album called “Shhhh,” which caught my attention. There are just a few things that I’m curious about (I apologize ahead of time if any of these questions are things that should be obvious to me, but I’m genuinely curious)

    1) Regarding the sustained E5-C5-E5 at 3:00 and the mixed G5’s at 3:08 and 3:20, I’m curious about Taeyeon’s mixing – not in terms of support, but how healthy her mixing is in comparison to how it was in the past; 2015, for argument’s sake. Does she appear to be adopting a slightly less chesty and pushy approach above her supported range, or is it about the same? Has she seen any change in placement, as well?

    2) Is the G5 at 3:12 falsetto or head voice? I want to say falsetto, but I’m not entirely sure.

    3) This one is somewhat unrelated and might be tricky to answer since it deals with math and ratios, but I was watching some of her recent performances and it got me thinking. I know that it’s possible for a note to not be strained and carry support, but still be unsupported due to tension and other things. That being said, what is an acceptable threshold or support-tension ratio in which a note can be considered supported? I know that some cases are pretty obvious – because of the sheer amount of tension present, but I assume that it must get somewhat difficult to determine at times, when there’s an even amount of support and tension. Is there a predetermined rule for this, or is it simply a matter of using one’s discretion to make that call?


    1. 1. I remember people used to say Taeyeon’s mix wasn’t chesty but I always disagreed. Taeyeon to me was always a bright kind of chesty, I mean her C#5’s in Baby Baby…that’s chestier than not. Now for a while Taeyeon has always been a heavier vocalist, so even her D5’s recently are slightly chestier but the higher she goes, she does let go of the chest in a more natural way. Her F5’s in U R are a great example of that. So how she’s been approaching notes above D5 has definitely improved over the years but not too much since U R, although it has still been getting better as her Eb5’s have indeed been getting better. These G5’s have a high larynx but they’re not too strained or too pushed so her mixing approach is becoming easier for her to develop her upper mix.

      2. I would say it’s a head voice actually.

      3. There’s no scientific mathematical number I can give you for that because there’s no measuring machine for this. I can only tell you what I hear from my experience of teaching and singing myself. It’s just when there seems to be more support than tension, I’d consider the note supported although it could be approached better with more ease. But there’s no number for me to give it. So I’d say it’s using our discretion to make the call. To some people, they may not be able to identify the tension as in detail as we do so to them it might not be a problem, some notes, but to us it might. Even amongst ourselves, we disagree due to the sensitivity of our ears.

      Liked by 2 people

      1. Okay, thanks a lot for responding. That pretty much confirms what I had thought for 1 and 3. I just wanted to make sure I wasn’t under the wrong impression. As for the head voice G5, did it sound like it may have been supported? Or was her throat not open enough? I only ask because it sounded like there was more air being pushed than necessary, but something tells me that was more of a stylistic choice so I have no clue. Thanks for taking the time to answer these, by the way.


  4. Hi, I was just wondering about this new song “Let it Snow” It seems to have a lot of head voice moments and a lot of low notes.

    The low at 0:35 what note is it? It sounds like a note outside of her supported range, but it doesn’t sound airy, it almost sounds like she’s taking instead of singing it?

    The low at 1:38 is F3, right? I know it’s studio, but it doesn’t sound like she struggled with it at all, does that mean its supported or is it some form of mixing a lower note like mixing an upper belt?

    Also, at 1:13 this run sounds really complicated and I can hear the different notes, but the middle bit fades behind the melody so I’m not completely sure if it was executed well or not.

    In the adlib starting from 2:24, does she peak at G5 or F#5 on ‘LET it snow’, and is that head voice?


    1. 0:35 It’s an Eb3. She’s pushing the larynx down. 1:38 Yes F3, I’m not sure what your idea of not struggling is but that note has no tone quality. I think it’s best to compare it with another soprano hitting F3 with actual support.

      This is what a soprano supporting F3 sounds like, live. Taeyeon is barely projecting. Most of what I hear is a muffled tone quality, I usually use the word cloudy for that. Compared to Dana, who sounds clear and strong with more cord connection, more projection and better placement, Taeyeon sounds like the voice is hidden behind a mist of airiness, a pushed down larynx and lack of vocal cord development.

      1:13 That run wasn’t clear at all. She was sliding more so than actually doing a run, because it was too fast for her. 2:24 It’s a head voice F#5, yes.

      Liked by 1 person

  5. I’ve just seen a fancam of Taeyeon singing This Christmas live and wondered how she’s doing with her Eb5s! Please could you take a listen to them here at 1:12, 1:51, 1:54 and 2:09? My feeling is that 1:51 is quite pushed, and 2:09 sounds nice.


    1. I wouldn’t called them unsupported, but she was overdoing it she kept pushing them instead of letting them flow naturally. I feel if she stopped pushing and relaxed a bit more the would be pretty nice.

      Liked by 1 person

      1. Thank you, aw so not quite there yet! I feel like she’s been getting closer to supporting Eb5, hopefully she’ll be able to get it consistently next year!


      2. The support is there she just needs to not push them. She’s working harder than she needs to lol, but really she’s gotten so much better at singing those upper notes.

        Liked by 1 person

  6. Could I ask again about her Eb5’s,from this last day of her concert. (6 sec video) Would they be considered supported Eb5’s? She seemed to attack the notes harder than previously and seem more pushed than the other day though. Thank you!

    Also, Merry Christmas to the everyone on the blog, admins and readers alike!


    1. I would say there’s a bit of support, but they sound really tired and like she’s struggling to keep her throat open. Taeyeon and I are very similar in how we sing because our condition can easily affect how we sound and we get tired more easily than others. The way she sounds is how I sound when I try to sing when I’m really tired and my muscles just don’t respond. That’s what I’m hearing, a lack of response due to fatigue.

      Liked by 1 person

      1. Really Matheus ? So far for me personally you & taeyeon have different technique in mixed voice, you lighter and taeyeon heavier. But i’m not sure since i’m not a coach hahaha just my opinion.

        Anyway i want to ask you , why some singers / vocalists can get fatigue easily ? Is that because weak stamina or weak vocal cord or bad habit/bad technique ?


      2. Uhm yeah no I wasn’t talking about our technique. I wasn’t talking physically, we are easily affected by our condition and get fatigued easily. I’d say it’s like a physical aspect of …sometimes bad technique and sometimes some people are just weaker immune system wise.


  7. hello! i see that taeyeon’s finally starting to get a strong grasp on her eb5’s, so i was wondering how the eb5’s at 3:37, 3:48, and 3:52 were? they sound a bit pushed to me, but yeah


  8. Here’s a fancam of This Christmas on the 24th. I think she did better on the 24th than the 22nd, what do you guys think? + the fancam is much clearer

    Eb5s at 3:06, 3:45, 3:48, 4:02
    Also, how was her D5 at 3:12 and was 4:00 head voice?


  9. Hi, there :3
    Reading some comments here, I saw some people saying that Taeyeon’s mix is chesty and I got a bit confused, because I always thought it was head-dominant ‘-‘ I’m a total dummy in terms of vocal technique, so it is possible that I’m hearing it wrong, LOL but in the analysis, it says that she uses a brighter and lighter approach (that is why I assumed her mix was headier).. that means that a chesty mix can still be bright? Or brightness and lightness have nothing to do with the balance of the mix? Can you clarify that to me?

    Thank you and happy new year for all of you, I hope you have an amazing 2018 ^^


  10. Is she still straining D5 sometimes? I dont really follow Taeyeon at all but I’ve seen many people comment on how she supports Eb5 more consistently nowadays so I was wondering if she really is inconsitent above C#5 or if her supported range should be updated to D5/Eb5


  11. Taeyeon is still extremely inconsistent on Eb5. She still stains on Eb5, so stop asking this question everyday… Like seriousely, they answered to this question several times …
    “Taeyeon still strains on Eb5″, ‘It’s still too inconsistent”, etc…
    Plus being more relaxed/open than before doesn’t mean supported.
    Her D5 is still not fully consistent I think, so no, there’s no need to update this analysis.


    1. I didnt say that I think she is consistent on Eb5. I also never commented on Taeyeons analysis before. I was just wondering if she still is inconsistent with D5 even if her Eb5s are getting better.
      But thanks for ur answer…

      Liked by 1 person

  12. Your welcome xD
    Sorry but I just think that people are too much overeacting about Taeyeon.
    Being more relaxed above D5 and having support at times on Eb5 doesn’t change anything tbh, since it’s still TOO inconsistent. She still strains and push a lot in this note. Inconsistent support is not important, it’s actually kinda irrelevant. It’s the same with Eunji, Jessica, Luna etc… They all can support above their supported range (C#5 for Jess, E5 for Eunji, E5 for Luna) but since it’s inconsistent, it can’t be added on their supported range. For example, Ariana is able to support up to E5 at times (yes), but it doesn’t change the fact that most of the time she’s strained above B4/C5. This is the same with Taeyeon.


      1. Doesn’t it, though? If she develops her mix and takes on a healthier approach above her supported range, it might allow her to bring her support higher in the future – or at the very least, I assume it would lessen the damage to her voice as she sings higher.


      2. From debut till date, I feel like she has lighten up her mix quite a bit. Maybe she should reduce her air pressure a bit when she went in for the upper belt. I don’t think it is possible for her to lighten up the mix, from what I have seen in East Asian pop. People quite like the chest dominant mix, more weight, heavier and shoutier sound. I am no expert in pop music vocal technique trend in kpop, but I am pretty sure why people mamamoo ‘s way of singing


    1. Pikachu
      For personally that was still chestier. Her placement is lower than it should be and gets a push from the chest (?) Lol sorry if my opinion is so weird. I say like that because i have the same technique with her in mixed voice. Hahahahaha


    1. They don’t sound strained or unhealthy, but they lack projection overall. There’s a degree of support, but it could be quite a bit better.


  13. Do these videos have some sort of truth to them? I have major side eye for the second video, but I’d like to know if it’s justified lol


    1. I don’t understand the concept of a high note success video. And the random words used to “analyze” the vocalists and putting Sooyoung 4th and Tiffany 2nd based on what? Yeah don’t mind these.


  14. I have a question about Taeyeon’s agility/runs, even though it’s the studio version did she do good on the ones from TTS Dear Santa? And would those runs be considered complex for the average singer? at 0:18 – 0:28 and 3:19 – 3:22


    1. There is too much air in her runs, they’re not that fast so there’s some good precision but the faster trills lack clarity in note separation. 3:19 Again there’s a lack of clarity in flow she’s using air but you can hear the notes. She’s not really sliding too much.


  15. Are her notes at 2:55 and 3:07 supported? And what about the choruses are the notes still supported? She sounds like she is struggling. She cried a few minutes before this while Leehi sang Breath, can this have affected her singing?


      1. I’m so sorry ahmin can you explain what you mean on her vocal cords aren’t always responding? How can she improve her vocal cord response?


      2. Oh that’s not something to improve. It’s just that when people are tired, even if you tell your muscles to do something, they won’t respond as they usually would which is why they need to rest.


  16. She performed again yesterday and I think she sounds better!
    Can you tell me please how were 2:35 and 2:49?

    How about 4:07 here? I don’t know much about runs but 4:10 4:25 those are bad?

    thank you!


  17. It seems like she consistently supported several Eb5’s in her recent concert. Does that mean we can finally include Eb5 into her vocal range?


      1. Hi Minnie,

        I like to read the responses you give to questions and something called my attention, pushing. I find it possible to hear it in other people, and I am also able to observe how it can minimize resonance. But when it comes to myself, I am not sure. I saw in the comments that if the pushing is too much, you’re not really fully supporting the note, it’s more of a partial support thing, like Taeyeon’s D5s.

        How do you know if you’re pushing? How could you stop it or sing without using it? Can singing new notes with pushing stunt the growth of the muscle coordination that you’re trying to build into them?

        P.S. It’s been so long since I asked a vocal question, right?

        P.S.S. So how is the cutiepie visual training going?


  18. I think I figured out accidentally. If you have good placement, the pushing distorts the sound, so you feel like a megaphone with blockage in your mouth. It also makes me feel like the air pushed strongly than my vocal cords.

    Liked by 1 person

  19. This is a taeyeon D5 vid only about 4 minutes long. If you have the time could you please indicate which D5’s are the most open, resonant, and powerful. Could you also indicate which D5’s were the weakest. Thanks
    Also, if you could please rank her registers I’d love you forever (I already do but I’d love you more)


  20. This is Taeyeon “The Magic of Christmas Time”, and this is the vocal highlights of her conert, this is almost 1 minutes but you can use this for updating her analysis, and Is it true that she is supporting Eb5 now (2:51 – 2:55)? And does Taeyeon improved now? If y have time you can watch the video from the start ’till the end. Thank You 🙂


  21. Hey, could you please tell me why Taeyeon was not included in the Agile/Melismatic category ? I thought she’d shown decent accuracy in pitch when doing runs. Also what were the hardest/complex runs she’s ever executed ? Are the runs in ‘Let it Snow’ considered complex ?


    1. The vocalists included in the MA label are all consistent with pitch, accuracy and have a very well developed flexibility in their agility. Taeyeon being “decent” in runs not enough for that label I’m afraid.


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