Red Velvet’s Vocal Analysis: Wendy

Vocal Range

Eb3 ~ Eb7 (4 octaves)

Supported Range

F#3/G3 -C#5/D5 (without head voice)

F#3/G3-C#5/D5-A5/Bb5(with head voice)

Voice Type

Soprano

Strengths/Achievements

  • Supported head voice up to A5/Bb5
  • Can easily vocalize in the C6 and above range
  • Head voice up to G#6
  • Supported lower register down to F#3/G3
  • Strong connection to support
  • Supported mix voice up to C#5/D5
  • Occasional resonance up to C5/C#5
  • Strong sense of pitch
  • Capable of doing complex runs with good flow and pitch accuracy

Points for Improvement

  • Inconsistent with resonance
  • Above Bb5 head voice becomes shrill
  • Above C#5/D5 mix becomes very strained
  • Runs can sometimes be sloppy
  • Head voices seems to have decline since debut
  • Slight nasality

Registers

  • Lower register: Wendy’s lower register is fairly well trained and connected to the rest of her voice. Wendy is capable of supporting her voice as low as F#3 and is able to maintain a considerate amount of tone down to Eb3/E3.
  • Mixed register: Her mixed register has a very well supported sound up to C#5/D5. Despite the very solid support in her mixed register, Wendy however does not resonate often.  Wendy’s mixed register above D5 becomes very strained a tense due to a more chesty style of mixing.
  • Upper register: Wendy’s head voice has proven to be her most developed register. Wendy is capable of supporting her head voice up to A5/Bb5 with resonance and is capable of bringing her head voice up to G#6/A6. Wendy has also shown she is able to carry a whistle register up to Eb7.

Agility

Wendy has a style of singing that is heavily based in the R&B/Soul genre which is very much known for its complex and extravagant melismas, therefore, naturally, Wendy developed her ability to do runs. Wendy has shown she is capable of doing complex runs for example her runs in “Halo” by Beyonce as well as the Red Velvet song ”Red Dress” from The Red album. Despite being able to pull off fairly consistently she does have some off moments for example her runs in “Shake That Brass.”

Overall analysis

Before becoming a trainee under SM Entertainment, Wendy was a finalist at Koreaboo X Cube Entertainment Global Auditions in 2010. Prior to her debut in 2014 with Red Velvet, Wendy was very active vocally showcasing her vocal talent on youtube by uploading covers of songs as well as being apart of what seemed to be her school’s vocal ensemble. Now, as the main vocalist of Red Velvet Wendy is known for her rich, soulful voice and R&B style.

In her chest voice Wendy has a very strong connection to her support system this allows her legato to be very smooth and connected throughout phrases. She also has a very solid and full sound in the chest voice with very minimal airiness. Because of the fullness and solidity her chest voice has she can freely switch to a more airy sound without it being too airy and therefore lacking tone providing freedom with stylistic choices.

The full extent of Wendy’s lower register reaches Eb3 and the extent of her ability to support is F#3/G3 which fairly decent develop in the lower register for a Soprano. Because Wendy is able to support her voice moderately low she is fairly comfortable with phrasing in her lower register and is still able to maintain tonality most notably in “Be Natural.” Wendy easily phrases her way  down to an Eb3 without any major lack of tonality just a slight fry quality for style.  Wendy also shows off her ease in her lower register with Red Velvet’s performance “Wish Tree.” During this performance Wendy phrases many notes in the middle to higher part of her lower register with good support and tonality with ease. Wendy’s lower register is definitely a great assest to her and uses it =efficiently and with style.

Wendy’s mix extends to a high extreme of G5, however she only supports and resonates in the C5/C#5 range and occasionally up to D5. Although Wendy has very strong support and great connection to her support,  she doesn’t resonate often and is normally just supported with an open throat. This is most likely due to that she is not always completely opening the back of her throat consistently when singing in her mix for example in her performance of “Happy Me” with Huh Gak she transitions from a mixed B4 to a C5. The C5 is significantly more open and resonant than the B4 despite it being higher. Another example of Wendy’s inconsistency with her resonance within her supported range would be her C5 in her performance of “Dear Mom” with Tiffany. Although her C5 is considerably more open and supported than Tiffany’s it is still lacking in resonance due to the placement not being optimal. Wendy has also shown she is able to support herself up to Eb5 for instance in her performance “The Only Thing I Can Do” on Duet Song Festival. Wendy mix leans more on the chestier side of the spectrum and because of this when she goes outside of her supported range she ends up carrying too much weight. This is very apparent when she performs “Happiness” because after intense dancing she has to mix many Eb5s and because of the weight she is pulling up with they come out very squeezed and pushed.

Wendy has a very extensive head voice being able to take the register all the way up to G6 and also is able to use a whistle register up to Eb7.  Although Wendy’s head voice extends up to a G6 she is only able to support up to Bb5 which by pop standards is very good, definitely above the average. Wendy has shown she is very confident in this register because she will sing well into the 6th octave without shying away for example “Dumb Dumb Opera ver.” as well as Red Velvet’s high note battle. In many Red Velvet songs  Wendy’s head voice is at times a very staple feature for example “Red Dress,” “Something Kind Of Crazy,” “Candy” and many more. Wendy has very good control in her head voice as she is able to phrase head voice notes in the mid 5th octave with clear diction and support for example Red Velvet’s acapella version of “Sitckwitu.”  One of the main issues with Wendy’s head voice, similar to her mix, is openness. There many times in which she could suffer to be more open to create a larger more resonant sound for example her F#5 in “Shake That Brass.” She’s producing head voice, but the projection small and a little bit shrill due to her just not opening the back of the throat so the sound can resonant properly.  Also it seems as if Wendy’s head voice has declined since debut because before her debut she seemed to be able to support up to C6, however this could have been an inconsistent thing because she has not done it since. Overall Wendy’s head voice is fairly well developed really only have issues with maintain an open sound and supporting above Bb5, however in pop music Bb5 is more than enough.

Simply put, Wendy is a very well rounded vocalist with all of her register having a considerable amount of development balancing each other out fairly evenly. Her main issues lie in her inconsistency with her resonance and not always maintaining a very forward and open sound in her mix and head voice. However, this is all balanced by the sheer overall development of her register making those issues almost minor. Her greatest strengths are that she has a very strong sense of support, ease in her lower register as well as her head register and her ability to do fairly accurate runs.

Musicianship

Wendy’s style is heavily set in R&B, before her debut Wendy released many covers of her covering songs with a more R&B flare. She also seems to enjoy to do runs as she tends to sing songs in which she can show off her agility such as “Who You Are” by Jessie J and “Halo” by Beyonce.

Label (Type of Vocalist)

HV Vocalists: High Head Voice Vocalists

LR Vocalists: Low Range Vocalists

MB vocalists: Mid-Range Belters

WR vocalists: Well Rounded Vocalists

Vocal Range Video(s)

Best Vocal Performance(s)

Analyzed by Pandayeu

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465 thoughts on “Red Velvet’s Vocal Analysis: Wendy

  1. Hello can i ask something? Last time red velvet sang hit that drum live, and wendy sing the high note live to, what do you think about that? I personally think that wendy sing that note with some kind of “nasal” voice to add more ring to that note. Is that a good/bad thing? https://youtu.be/iiurwj6YBX4 this is the link and her high note is around 1:35. Im so thankful if you answer this question 🙂

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    1. Not the admin, but that note is a well-placed and open C#5. Not too sure if what you meant by “nasal” voice, but if Wendy was adding nasality, it wouldn’t sound like how it sounded. It would sound closed and whiny

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      1. The note is a C#5, it’s one of tu most opened in terms of throat shape I’ve heard from her but I wouldn’t say it’s resonant because I’m hearing a lot of echo from the reverb and background vocals.

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  2. hello,
    i don’t know much about vocal terminology, but I’d like to ask.
    is it true that wendy has declined a significant amount as she is no longer able to sing like she used to? i always thought it was a stylistic choice as she as a very versatile vocalist. but many vocal coaches/teachers tell me that her high notes are thinner and she is not able to produce a strong “sound”. they also mention her vibrato is not as strong as before. apparently she has “less control of her voice” (idek what that means). could this be because of the yoyo-dieting? is she just tired? or am i right that it was a stylistic choice. i even compared her performances these days with her debut era performances, and i think the vocal coaches were right. but what do i know, idk anything about vocals. anyways thank you for creating a well vocal analysis on my favorite vocalist of this time. i love you all

    to add on my comment, here is an example of proof vocal coaches are giving me.
    https://www.youtube.com/watch?v=etd4MjbbEvw 1:38. i feel as if it would sound more powerful if this was performed during dumb dumb era. idk i might be hearing wrong xD also power up high note https://www.youtube.com/watch?v=EyLf7XuwpFw 2:52. it sounds thinner and less powerful and its the studio ver, i dont think it would be a stylistic choice. one observation is that she sounds less “nasal” when she does high notes these days.. idk if im right but it she able to produce a more stronger note with that? another “proof: given to me was https://www.youtube.com/watch?v=pF8V42G_SCw this may be one of her unlucky days but idk, its not like she was dancing or anything.

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    1. I’m not an admin here but I’ll answer you. Many people asked this question and the admins said that Wendy’s vocal ability isn’t declining. Maybe she was just tired bcs of the hectic schedules (especially 2017-early 2018). I don’t think she’s declining too. Even her C#5 in Hit That Drum is well-placed and one of the most opened C#5 from her (And she did it on live performance, QUEEN), so I don’t think she’s declining.

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    2. Hi there. Okay so there’s a part of your question I need to address above all. “but many vocal coaches/teachers tell me that her high notes are thinner and she is not able to produce a strong “sound”.” Many? Tell YOU specifically? So you’re saying multiple people you’ve specifically talked to have been following her and have all come to the conclusion that she’s declined vocally? Who?

      1:38 So you’re comparing a line from a new song to how she used to sing and making an assumption instead of comparing her singing the same exact line or same song or same note even across different eras? I’m not sure that’s a very productive way to look at things. This was tight, especially cause of the vowels, but that might just be a thing for this song specifically. I can’t say it’s a decline in her vocal technique at all. Again you’re comparing the same note in two different occasions but in the same year. You’re not making a comparison that has anything to do with a vocal decline, you’re comparing a studio note vs a live note. A studio note that’s gone through layering of vocals, it’s gone through reverb changes, it’s been leveled so that it matches the music volume. Vs a live note that’s done without layered vocals, which is done with less than optimal conditions for singing, especially since she’s dancing, on a note she would normally strain anyway since it’s Eb5 and it’s done with a mic quality that’s not very great. So again, neither of those two lines you’ve shown were well executed, but they in no way are new things for her singing. It’s the same as it was before, same notes she’s straining and same reasoning for the strain. This doesn’t show decline because it doesn’t compare old vs current singing in a fair logical manner.

      The last video you shown is, and I mean this with all the love, one of the least well performed vocal pieces by Wendy I’ve ever seen. Now I don’t know if she was on a really bad vocal day because again this is the only video so far where I’m hearing things I never heard before from her, like tension on notes she normally wouldn’t have tension on or really pitchy and disconnected singing. Now it’s one performance only, to use this and say she has declined is really jumping to conclusions.

      I don’t think Wendy has shown vocal decline personally from what I’ve heard. She’s been singing more or less how she’s always sung.

      For example, this is recent and she sounds just fine here. Pitch is fine, she’s opened, supporting through her C5’s throughout. Transitioning well into her head voice. I don’t hear any “decline.”

      This too.

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    1. I’m not sure I agree that she sounds lighter or headier. What exactly are you comparing this to to come up with that conclusion? Because what I heard was a difference of less layered vocals when I watched this specific performance for a comparison.

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  3. Hy, i want to ask something

    Wendy sang wish tree solo, and at 0:56 when she sang the chorus, she sound so closed(?) And at 3:08 she changed the vowel of her high note(compare to her perf before with other member) is that vowel is the easier to sing? in the begining, are her low note good? And you can watch her full performance to compare with her performance before(with the group).

    And this wendy sang dangerous woman
    1:19 what do you think about that note?
    1:54 and that note, she sound so closed and thin, i think that was just stylistic choice.

    And last, i want to ask, is close throat when singing make easier to do complex run/riff? I totally confused with that.

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    1. 0:56 I don’t personally hear any closedness or tightness in the way she’s singing. She is relatively relaxed, her vowels are fine, transitions are good and her C5’s throughout are relaxed and supported. I’d appreciate it if you also sent a link to the performance with the whole group because I haven’t seen it and if you’d like me to make direct comparisons, a link with time stamps would be helpful. Yes the F#3’s in the beginning are hit relatively well. The audio quality just isn’t good so maybe that’s what you’re mistaking for tightness. 3:08 No, I wouldn’t say this is a better nor easier vowel to sing for everyone. Perhaps for Wendy, singing Aye is uncomfortable but her Oh isn’t much more opened so it wasn’t a better vowel choice specifically for her.

      1:19 They’re nicely supported B4’s, as I’d expect from her. 1:54? Are you sure about the time stamp? Do you mean “feel it inside”? The B4? It was fine, slightly pushed. Closed and thin? I don’t hear that at all. Closed throat does not make it easier to do runs at all, no. If anything, it makes it harder

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  4. https://youtu.be/KOr9iyglowQ hello!! That is link Wendy sing sustained C#5 in the encore concert stage, i was little bit afraid that she cant do the high note (due to 2 hours concert) but she surprised me because she sound so good, what do you think about that high note at 2:47 is that resonance? What about the placement? That sound opened right? Thank you , hope you answer it 🙂

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    1. It’s supported and has good placement, but it’s a bit too pushed. I can hear she is tired, so she pushed a bit harder than she’d need to usually.

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