Shannon William’s Vocal Analysis


Vocal Range

E3 ~ G6 (3 octaves, 1 note and 1 semitone)

Supported Range

G#3/A3 ~ Eb5/E5

G#3/A3 ~ D6 (with head voice)

Voice Type

Light Lyric Soprano


  • Most developed head voice amongst female idols in K-pop
  • Support is consistent in her mixed voice up to Eb5/E5
  • Able to produce a natural vibrato within a comfortable range
  • Resonance is very consistent up to D5/Eb5 and occasionally E5
  • Head voice is resonant and evened out
  • Connection with head voice and transitions are done effortlessly
  • Able to control dynamics and pitch in head voice
  • Currently one of the most technically developed rookies and young idols
  • Lower range is connected and possesses tone down to G3
  • Support in her lower range is consistent down to A3, occasionally G#3
  • Good ear for pitch and dynamics overall
  • Great breath support present throughout her supported range


  • Jaw vibrato is used often
  • Glottal tension present above her supported range
  • Tends to push down her larynx in her lower range
  • Larynx raises above E5
  • Lacks development in her lower range below G#3
  • Vocal runs can lack pitch precision if too complex and fast
  • Musicianship can come off as show off-y
  • Head voice becomes shrill above D6
  • Issues with keeping an open sound in her mix on closed vowels such as in “이 (Ee)”


  • Lower register: Her most underdeveloped register and most under explored. She has been given a repertoire that often requires her to sing below her supported range, which generally becomes airy and muffled or simply forced out with a lowered larynx.
  • Mixed register: Very balanced mixed voice with consistent support and resonance up to D5/Eb5. Above E5, she tends to either sing with a bright light mix with some support or force her voice out with a high larynx and glottal tension.
  • Upper register: By far her most developed register. Able to sing with a connected head voice, with support throughout more than one octave of range with consistency in tone and control.


One of the weaker areas of Shannon’s voice. Coming from a more Musical Theatre background, since moving to Korea, Shannon has come to take a liking to R&B and big powerful diva songs. For someone so young, to be in control of her voice is hard and she often attempts songs that require a very high level of vocal skill. As such she has shown improvement over the years with her ability to sing through more high level skill, such as agility. In many songs she is usually required to sing through hard and fast movements of notes, known as vocal runs, which require her to sing through each and every single note on a single vowel sound with one breath with precision and clarity through each note, by also having the correct rhythmic bounce. Shannon used to show issues with fast and overly complex runs, but has shown multiple times that she has the correct rhythmic bounce through each individual note in her vocal runs and is able to separate each note, her only issue is her pitch isn’t always accurate. So with mid tempo and slow tempo runs, she’s able to sing with accuracy, such as in “Stickwitu“, “The Phantom Of The Opera“, “Take A Bow” and “Lay Me Down“. However if runs require a higher level of speed, she usually falls short and ends up somewhat pitchy, as heard in “Confetti” and “Listen“.

Overall analysis

Debuting at the young age of 16, Shannon is no stranger to the world of music and showbiz. Having previously been part of the cast of Les Miserables in England prior to coming to Korea and also being a young singer on Star King, she’s always stood out as a young vocalist with a lot of potential technically and musically. Coming from a Musical Theatre background, Shannon has always gone for a more developed sound in certain areas of her voice. With a bright and youthful girly voice, sitting quite high in range, she is undoubtedly a great example of a young light lyric soprano.

Her lower range is noticeably the least developed part of her range, which she knows and reasons with her being a “high soprano”. That shouldn’t mean she couldn’t further improve that part of her range, but that is yet to happen. The current development of her lower range isn’t necessarily bad and she has shown that she’s able to support her voice with a relaxed and forward tone down to A3 and occasionally down to G#3, such as the A3’s in “Confetti“, “기다리다” and “Take A Bow“, and the G#3 in “I Dreamed A Dream“. However she tends to struggle with notes below G#3, being unable to maintain her vocal cords together with as much connection and usually losing power and volume. She has the habit of pushing her larynx down below G#3 in order to project, which can bring strain to her voice if done excessively, such as the G3’s in “손대지마“, “보여줄게“, and “사랑하나요“, the F#3’s in “Listen“, the F3 in “Let It Go“, and the E3 in “Lay Me Down“. At times she has shown that some support can be present down to G3, but such support is also accompanied by a slight tilt down of her larynx, as heard in “나보다 더 나를 사랑하는 님이시여“.

Her mixed voice is one that’s shown great improvement from her early age to her debut. She has learned to properly develop her muscles in order to have the correct blend of both head and chest voice in her mix, by not pushing too much and also not relying on an overly bright sound in her mix. Not only that, but she has also shown multiple times that she’s able to alter and control the amount of head and chest in her mix and is able to use a brighter mix to sing through higher passages with a lot less strain to her voice. Her mixed voice is not only just well developed, she also has a consistency in keeping a relaxed open throat vocal tract shape, as well as good breath support with mask placement being able to produce resonance consistently throughout her mixed voice even as high as E5. This can be heard in multiple performances, such as the C5’s in “그대네요” with Seventeen’s DK and “I Dreamed A Dream“, the C#5’s in “Stickwitu“, “나보다 더 나를 사랑하는 님이시여“, and in her re-edition of the “Korean National Anthem“, the D5’s in “Diamonds“, the Eb5’s “Let It Go” and “Breakfree“, and her E5’s in “” and “새벽비 (Daybreak).”

The issue with Shannon’s mix lies above E5, where most of the time support isn’t necessarily lost but tension comes in her singing. She seems unable to sing through higher passages without allowing her larynx to raise even if just a bit and bringing some tension to her throat. Despite that, she’s able to minimize strain when singing with a brighter mix, as heard in “왜요왜요”  and “좋은 날“. When trying to add more power to her voice above her supported range, however, tension becomes more evident and she tends to show inconsistencies with E5’s, such as in “Lay Me Down“, as well as having a more glottal and throaty quality in her upper belts, such as the F5’s in “나보다 더 나를 사랑하는 님이시여” and “I Have Nothing“, the F#5’s in “Baby I” and “Listen“, and the G5’s in “Dangerous Woman.” In such cases, her mix becomes more blocked and her tone somewhat whinier.

Her most developed register by far is her upper register. Being one of the fewer female vocalists in Korea who’s taken the time away from simply being a belter to develop her upper range, Shannon is a great example of a vocalist who is consistently able to produce a supported and well connected head voice. Her head voice isn’t something that happened during her trainee years in Korea, but long before that when she was just 12 she already showed great breath support and connection between her vocal cords in her upper range, being able to phrase multiple notes from the G#5 ~ C6 range with good head resonance and power, as heard in “The Phantom of The Opera“.

As the years passed, not only has her head voice improved, but also her control of it. Instead of becoming more “pop” and losing the ability to sing in her head voice, Shannon has learned to adapt to the new genre of music and is able to sing with clarity of tone and control in her dynamic approach for her head voice. In other words, instead of always needing to sing a somewhat “classically” sounding head voice, Shannon is able to add some fragility and airiness to her tone, as well as softness in volume and transitions into her head voice almost effortlessly at any given time, which can be heard in her transition to D5 in “눈코입“, her E5 in “Stickwitu“, as well as her phrased F5’s and G#5’s in “Lost Stars“. The connection and resonance in her head voice still is by far the best amongst female idols in the industry right now, being the only female idol with consistency and support in her head voice as high as D6, as shown by her connection up to C6 in “The Phantom of The Opera” as well as during her warm ups, and also the A5 ~ D6 section of “나보다 더 나를 사랑하는 님이시여” and the D6 in “Almost Is Never Enough“. Above D6 is the only time when Shannon struggles to stay supported in her head voice, where her voice will generally become more pushed and shrill with the strain. This however is almost never the case since singing even as high as D6 is very rare in her repertoire. Examples of her straining in her head voice include the E6 in “Phantom of The Opera“, the F6 in “나보다 더 나를 사랑하는 님이시여” and the G6 in “Emotions“.

Dynamically and musically, Shannon is completely in control of her breath support and her placement. She is able to pull back her sound within her supported range, control the chest to head ratio in her mix, add airiness in tone to her voice as well as singing with great power in both her mix and her head voice. Shannon has also shown that she is able to produce a well supported and relaxed vibrato, as heard in “I Dreamed a Dream“. However her worst habit comes mostly from her jaw vibrato. She has the bad habit of always shaking her jaw when sustaining notes even though she’s able to produce a natural vibrato, which brings tension to her jaw and is just inferior to the true vibrato she possesses. This habit of hers is simply a bad habit she possessed even as a child, as heard in the “Phantom of the Opera“, which has yet to be fully addressed and is still spotted in various performances of hers to this day.

As one of the youngest female vocalists in the industry right now and possibly the youngest soloist, Shannon has a long way to go in terms of setting her mark as a singer and artist. For what she lacks in artistry, she makes up for it with really advanced vocal technique. Considering how young she is, she’s yet to truly find herself musically and to be in control of her own career. For now she’s still exploring the diva power she possesses and shows influences from Musical Theatre, pop, R&B, ballads and bubblegum pop, all of which could help her better define her sound and technique. She is not a vocalist who’s undermined for her vocal talent but most can often underestimate her due to her young age. Her focus right now as a vocalist and artist should be her finding her own definite sound that can help her set her apart from other vocalists in the industry right now and shine as an individual artist because even great singing skills don’t necessarily make hit songs. For the many years to come of her career, if she is to keep her good technique, she has only good things to look forward to in terms of vocal improvement and should focus on further developing her agility and lower range to make her a more well rounded vocalist.


Shannon takes after a lot of R&B diva and big musical numbers in her musical background as a vocalist. As such, she usually resorts to high and difficult songs that require a lot of vocal power and technique. With a level of technique as high as hers, she’s able to showcase ease and range without much problem in any given song. However the issue with her lies in her almost purposeless musical choices that often instead of adding more to a song, come off as showing off and trying to do all that you can within a 4 minute time frame. She’s not one to always sing with very difficult songs but here and there comes a performances where many of her musical choices become questionable, such as in “나보다 더 나를 사랑하는 님이시여” and “Listen”.


Good Vocalist

Vocal Range Video(s)

Video by: Ahmin (Kitsunemale)

Video by: Haruka

Best Vocal Performance(s)

Analyzed by Ahmin (Kitsunemale)

About ahmin3

kitsunemale from YouTube, AhMin33 from Twitter and Ahmin from OneHallyu!

95 thoughts on “Shannon William’s Vocal Analysis

  1. I’ve been reading your updates inbetween cooking Christmas dinner, haha. Anyway, yay for a new entry into the ‘good’ category!

    I absolutely love how developed her range, like you said she’s one of the very few KPop artists that doesn’t belt higher notes.

    I think the above performance was great (correct me if I’m wrong), but her whistle notes were good and her voice is just so sparkly and bright! I normally prefer deeper chestier voices over youthful girly ones but Shannon is an anomaly for me, lol.

    But I also noticed in that vid that Shannon’s jaw vibrato is really evident. I understand that it prevents her from showcasing her true vibrato but it’s also really weird to look at. >.> Anyway, I need to get back to cooking but again, thanks for all the updates. I’ve been waiting on Mamamoo and Shannon for like a year, and their analyses all came out today!🙂

    Liked by 1 person

      1. Yea I agree, like even when she doesn’t sustain that long you can still see her jaw wiggling. 😂

        Anyway I just re-listened to that performance and it doesn’t sound as good as it did on the first hearing but it’s still good. I think she was pushing a bit on the higher notes(?)

        Liked by 1 person

  2. When you say she’s one of the most technically developed young idols, who else is there near her if she’s already ranking as Good? That’s almost as high as you can get.


      1. I don’t think Uji is that new, she had impressed me when she debuted with Exid in Who’s that Girl. I don’t know how long ago that was though.


  3. Wow!! This is a great analysis for Shannon, I totally didn’t expect that you would publish hers this year, but you did! It was a really pleasant “Christmas gift” haha(: thanks so much! Now I won’t keep bugging you abt Shannon anymore.

    Liked by 1 person

  4. When I asked for her highest supported note and you said I’d find out soon, I didn’t expect it to be this soon lmao thank you for this great analysis again! Is she closer to Good to Great than just being Good?


  5. Can I get your opinions on this insta vid?
    Is it a whistle note?

    I haven’t heard her sing in the whistle register before and she sure surprised me yesterday on instagram lmao. It sounds more like her head voice to me coz the texture’s pretty thick but I need your expertise to confirm plz…

    Nice analysis too, I was thinking maybe it’s too early but Shannon’s shown off a lot. I reckon she’ll be able to hit the great category sooner or later.


  6. Her head voice is goalssss. How can I identify the lowest note in my range? I really can’t do it when it just air lol the lowest I can go with tone is Eb3. I can go lower but I don’t know what note I’m hitting anymore
    This is random but I hate Shannon’s font on the header lol it really doesn’t look pretty to me


  7. Awesome.. Shannon’s analysis is here!!! Anyway, out of curiosity, who’s better between Shannon and old Hyorin before she regressed this year? It’s just that in many people’s thoughts, Ailee and Hyorin are like no 1 and 2 among female idols. Another question is how influential do you think being in a musical is to developing vocal techniques? It’s just that, so many idols who’ve been in musicals were able to further develop their techniques. Could it be that Shannon’s awesome head voice is a product of her musical training or something?


    1. I think Hyorin was better than Shannon for sure, in her mix and lower range but Shannon wasn’t too far off, not with the head voice she has. Musicals don’t necessarily make one a better vocalist, they just make some people more exposed and then they tend to seek some vocal lessons, that’s what happens with idols. I think Shannon’s head voice comes from more classical training.


      1. I see. I’ve read that Hyorin’s regressed but it must be quite bad because Luna has even surpassed her. Classical training makes much more sense. I Just wish Shannon gets more recognition than she does now. I mean, I don’t think any other female idols can support up to the sixth octave so that’s very impressive. Shannon’s so young too I can’t imagine how good she’ll be when she reaches Ailee’s age. How good do you think her company is doing in developing her techniques further? Because we know some companies don’t really emphasise on vocal techniques like Jyp and yg

        Liked by 1 person

    1. DIA’s Seunghee doesnt have enough material but she doesn’t seem to be more than average. Jihyo seems to be average. Yuju is at least Above Average or better, she has inconsistencies but if she were consistent with her mixed voice above C#5, she could easily be a good vocalist actually, or close. She strains above C#5 a lot but has sung one resonant F5. Shannon has better technique than current Hyorin, yes.


      1. Oh. Maybe there will be more vocals Seunghee hasn’t expose. Jihyo is average? Is it bc of her high note in ooh ahh? Yuju could be the same level as Shannon if her C#5 is consistent? What about CLC & OMG’s main vocalist? (Idk their names)


      2. Her high notes there aren’t good, they’re all strained. No not if C#5 is consistent, if D5 to F5 is consistent with a head voice. Seunghee from OMG could be AA, CLC are average at most.


      3. Trot? Let me see~ 1:50 there’s tension on the C#5’s, but those were much headier than her usual approach which shows me she doesn’t only use a chesty mix, I’m pleased to see that. Overall the pitch was good, the support and overall stability was great. She did nicely, it wasn’t too high/low for her either. I feel like I’ve seen all about that bass before… It’s a bit low for her, 0:31 the A3’s were not bad, but the Eb3’s or E3’s, I’m not sure what they are, they were really like too low for her for now. Her A4’s in the pre-chorus were fine. It’s not too challenging for her on the high end, 1:31 was a bit tight the B4, but overall it was okay. The song just sits a bit too low for her in range, but she did pretty well.


      4. Thanks for taking the time to reply! I noticed the same regarding the low notes in her AATB performance. I thought it was just me but I had a feeling she had some trouble with the song was a bit low for her range. Hmm the song is by Meghan Trainor and the performance was from the competition SIXTEEN… so maybe you’ve come across it from one of those two? haha

        It’s really interesting for me to hear/read more in-depth discussions regarding k-pop songs and singers. I only recently discovered this website and it surprised me how similar my thoughts are with the overall analysis you’ve all done (although with a much less technical approach, just based on what I can hear).


      5. I mean I know the original song yes sure but I mean someone already had asked me about Jihyo’s performance of it before, from what I remember. I’m glad your thoughts are similar, that shows you can hear stuff well. ^ ^


  8. Yess Shannon is killing it as always! I’m so glad to see her analysis haha, I knew she was good but it’s so nice to see it all typed up and everything ^^ I hope she gets more popular soon, especially with those amazing vocals! Thank you for the great analysis!

    Liked by 1 person

  9. Hey Ahmin, came across this site recently and really enjoyed reading ur analyses and learning about vocal technique! Was wondering if you could take a moment to gimme your thoughts on the technique of some singers with heavier tenor voices such as wang lee hom, michael buble and scott hoying? Thanks in advance🙂


    1. Oh hello there. I’ll copy paste my answer to your question here from Youtube in case you’re more likely to read it here.

      “Hello there! I’m very happy to hear, we from the blog always appreciate people supporting what we do. Oh Scott Hoying isn’t a heavy tenor neither is Michael Buble, they’re both baritones. Who told you they were both heavy tenors? I’m not sure if Wang Lee Hom is a baritone or a tenor quite honestly. Unfortunately I could only rank Scott’s vocal technique because he’s the only one I’m familiar with. I’ve heard him produce consistent support from G#2 ~ F#4, with good resonance, good pitch and great agility. I believe he might have a head voice, if you follow our blog, his rating is competent to good or good. I don’t know Michael or Wang Leehom well enough to tell you I’m afraid.”


  10. Hello Ahmin3, long time reader/lurker here. Those posts are always such intriguing and informative posts. I always hear the problems here and there in singers’ performance but never knew how I can “label” them correctly until I come across this blog.

    So out of curiosity, this performance of “Answer Me” is between 2 of my favorite R&B artists in Korea right now: Boni and The Suite. Based solely on this performance, how would you rank those 2 vocalists as they are often credited as two of the strongest among the independent R&B scene?


    1. Hi there, thank you for bringing up the courage to post a comment! ^ ^ It’s good to put a name to things right? It helps us be more concise. Well I know of Boni, as far as I remember she had really good runs but I’m not sure. I have like one song by Boni and I’m familiar with The Suite. The Suite, from what I’m hearing, has somewhat shallow support. It’s there, it exists, he doesn’t project very well in his lower range like at 1:25, the Eb3 was almost gone. He has a somewhat wobbly vibrato and he projects mainly through his nose. He has that typical R&B sound that males think R&B should have. Slightly closed and tight, small voices. R&B can be powerful but they often go for light and tight. Boni sounds pretty clean with her support, very in control, her vibrato is very nice and even. She seems to also be able to access her head voice. Her slow runs also flow quite well. 2:48 her jaw shouldn’t move with her vibrato though. I like their harmonies, they do them well and they blend really well. 3:23 nice G#5 in head voice. This isn’t a very show off song, but I hear good things for Boni. The Suite also seems to use a head voice but he could work on more opened placement. Solely based on this, it’s hard to be sure, Boni could be Above Average, The Suite could be average, they could both be better than this, it’s not a song that exposes too many weaknesses.

      Liked by 1 person

      1. Oh my goodness, you are so so amazing! I would never have thought you would reply so fast. Not until you pointed it out had I paid attention to that Eb3 note The Suite was doing. Very unstable and almost gone (even in the studio version).

        So in regards to 2:48, this means if a singer does vibrato, it should simply sound like that from the control they do and never from moving their jaws repeatedly, correct?

        I used to watch a lot of singing competition shows and when singers were holding a note with vibrato, I often saw their jaws moving and I thought that’s how they do it hahaha


      2. Yes precisely. Like Shannon actually. Vibrato should not need any movement from your larynx, tongue or jaw. If your jaw moves, like Boni’s or Shannon’s, then some tension is present and it’s a bad habit. It should not be done that way, it’s completely unnecessary actually. Btw thank you, I hate pending notifications so I try to reply quickly lol


  11. So basically all her registers are developed right? Not like super developed but developed right?
    I laughed at this “there comes a performances where many of her musical choices become questionable” I rmb seeing this in Sohyang’s analysis too kinda😄 it’s like once u can support ur head voice very high u tend to show off LOL


  12. hey ahmin, can I see you do some covers of any song because you are so expert in this field and I was wondering if you’ve got a great voice just like the analyses that were written here. #nohardfeeling #justcurious


  13. hi, have you guys heard the new version listen of shannon on a radio live 20141220 .

    i wonder if she improves ever since the early version of the same song?


      1. oh, sorry, i sifted through the analysis but didn’t really check out all the videos so i automatically assumed all the “listen” mentioned in it are all from the early version.
        anyway, on a side note, how’s yuju? i know her analysis will come out eventually but i’m just really curious how good she is. i remember somewhere in the comment section someone here mentioned she might even be a “good” vocalist, if that’s true, she would be the second “good” female vocalist who’s born in the 90s.Wow, how cool would that be huh!


      2. Yuju has a lot of potential but she’s inconsistent. She’s got consistent resonance up to C5, sometimes C#5. She has one resonant F5. I wish she had more. So she’s inconsistent. She seems to have a head voice but yeah her lower range is not bad and her head voice isn’t bad. I hope she becomes consistent in her mix.


  14. Hello, I been following your blog for a while but this is the first time I’m posting on it.

    I really admire what the admins of the web is doing, because I consider myself someone with a “deaf ear”. I found my singing ability naturally horrible , same to my ability to analyse or recognise vocal (Though I did at least recognise So Hyang’s level when I heard her singing haha) . I would like to at least be able to recognise a strong vocal or great musicianship artist though, so would it be possible for you to recommend some books for a novice who wants to learn more about vocal like me?

    Secondly is I because I don’t know if there is a page to request future vocal analysis projects so I would just post it here, hopefully you won’t mind – I would like to see your analysis on Winner’s singers for your future projects – Name Taehyun, Kang Seung‑yoon specifically.

    And the reason why I am posting in Shannon William’s page is because of this question:

    I really like Lee Hi of YG, I found her really unique and memorable. You mentioned that she was a vocal prodigy, but you ranked the duo of 15& above her vocally wise, Shannon William is also above Lee Hi in vocal ranking. Do you think Lee Hi has the potential to raise her vocal ranking? And among the 15& duo, Shannon William and Lee Hi – which one do you think has the most potential to develop their vocal in the future?

    It was a very long (list of) questions, so thank you very much for willing to spend time reading it (y)



    1. Actually there’s a page in the blog literally called “future analyses” lol Let me link it here and you can browse through it and see if in there you can find people you’re interested in.
      Also here’s a list of the analyses we already did:
      Yes Taehyun and Seungyoon are already included in the list for future analyses. ^ ^

      Yes of course Lee Hi has potential. I think her natural ear for music, her ability to add her own sound and style to songs and her natural jazziness is what makes her a prodigy at her young age..and the maturity of her sound overall. Her technique is lacking and that can easily be worked on so if she has a good instructor, I’m more than sure she could improve in no time, she just needs the right guidance. I don’t really know, because potential and improvement come from each individual’s hard work. Shannon now compared to 12 year old Shannon has seen huge improvement, so in 3 to 5 years she improved a lot. That means like 2010 Shannon vs 2014 Shannon, huge difference. 15& debuted in 2012, Lee Hi debuted in 2011 and in these years.. I haven’t noticed as big of an improvement, but that’s not their fault. They just need better instruction. ^ ^

      Thank you for posting a question!


  15. Between Dal Shabet’s Subin, Gfriend’s Yuju, OMG’s Seunghee, TWICE’s Jihyo, Lovelyz’s Kei, Red Velvet’s Wendy & Seulgi, Mamamoo’s Hwasa & Wheein. Whose vocals are better? Can you rank them accordingly. Thanks ^.^


    1. Why is Subin here? Subin is weak, Kei, Seulgi and Jihyo are average, there are analyses on Wheein and Hwasa who are both Above Average, Wendy is Competent, Seunghee is Average to Above Average or just AA, Yuju seems to be AA or AA to Competent.


      1. All of Dalshabet is weak or weak to average at most. Stellars strongest vocalist sounds average from what I’ve heard.


  16. With such an extensively developed and supported head voice, shouldn’t she be Good to Great at the very least? I think it makes up for more than enough for her lower register.


    1. I think her being good is huge enough stretch on its own considering the rest of her voice. lol she’s not bad without her head voice but it balances her out to good, her mix isn’t good enough for anything more. Lena Parks head voice is much better but without her lower range she wouldn’t be great.


      1. If shannon were to improve her mix to to up to E5/F5 would that be enough to bump her up to good to great? Or would she still need improvement on her lower register + fixing her jawbrato issue?


  17. I have a question about singing. Why do i strain above c4? And how do i make it easier to hit above that? Im a guy btw and are you gonna make any vocal tips video?


      1. Yeah I know shes rated higher but I asked because you said Taeyeon is more consistent than U.ji so I just wondered if even Shannons overall technique is better taeyeon might be more consistent lol. But thanks for answering!


      2. Taeyeon is more consistent than U.Ji with resonance specifically, that’s the only thing she’s more consistent than her with. Shannon is more consistent than both in a wider range.


      1. No we probably won’t analyze IOI since they’re going to disband before they have enough material. It’s also hard to compare a soprano to a tenor, they’re both very consistent. It’s the same.


  18. How did Shannon do here? Specifically the head voice run at 2:33 (I thought it sounded quite good!) and the mixed E5 at 2:42 (which seemed to surprise her lol, was it resonant?) and the G5s after (which I’m guessing were quite strained?)


    1. I mean it’s a song even Ariana can handle well for the first verse through to the second chorus, it only goes up to B4 until then. She could’ve been more relaxed and she was kinda flat on the B5, it sounded kinda like a Bb5. The placement is great and so is the connection. 2:47 oh those runs are messy. The G5’s are strained yes but again better than others could ever and these are Shannon’s first live G5’s. Let me add them to the analysis lol The E5 it’s got the support but it’s a bit gritty and whiny, it could’ve been more opened.



    How do you guys think she did? Did she sing those high notes better than Tori did? (I feel like she did bc Tori sounded more yelly) :O (the baby we BOTH KNOW) other than that not asking for a full analysis but do you think it was a typical performance for Shannon?


    1. The run is sloppy and she has quite a few F#5’s here, which are as we’d expect of them. Shannon has a better mix than Tori so that might be why Shannon sounds less yelly. There wasn’t anything new to note. ^ ^


      1. When you said “as we’d expect of them” do you mean that they were strained/high larynx since F#5s aren’t part of her non-head voice supported range? Did it still have okay placement though?


  20. If Shannon had a standard lower register for female like most kpop sopranos (with consistent support down to G3 for example) would she be Good to Great? Considering her head voice is really developed? I’m just wondering.


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