Lee Sunhee’s Vocal Analysis

Vocal Range

D3 ~ A5 (2 Octaves, 3 notes and 1 semitone)

Supported Range

G#3/A3 ~ C5/C#5

G#3/A3 ~ F#5 (with head voice)

Voice Type

Soprano

Strengths/Achievements

  • Support is established in her singing
  • Rarely if ever has issues with nasality
  • Able to produce resonance as high as C#5
  • Able to control the balance of her mix within her supported range
  • When mixing with less chest voice has shown occasional support up to D5
  • Lower range is connected and supported down to A3/G#3
  • Able to transition into her head voice well
  • Able to produce a consistent head voice
  • Support in head voice is present up to F#5
  • Shown some improvement in vowel shapes/diction over the years
  • tone present in lower range despite lack of support
  • Generally sings within a narrow range where support is present, so strain isn’t obvious

Weaknesses

  • Pushes her voice a lot
  • Tends to use a very shouty chesty mixed voice
  • Often places her sound a bit too low for her voice type
  • Sings with a shrill and forced laryngeal vibrato
  • Lower range becomes muffled with a low larynx below G#3
  • Tends to only sing with a shrill and shouty approach above C#5
  • Has issues with pitch precision when pushing
  • At times may lose the placement of her voice when transitioning into head voice
  • Head voice can be thinner and shrill above F#5
  • Runs tend to be very sloppy when she attempts to make them more complex

Registers

  • Lower register: Generally more used than her head voice, but not necessarily better developed. Mostly sings in this register with breathiness for effect. Support is present down to G#3, but loses proper stretch of the vocal cords below that.
  • Mixed register: Able to maintain resonance and sing with a supported and well balanced mix up to C#5, occasionally D5. Tends to prefer a shoutier mix most of the time with more chestiness, which limits both her range and her support, stopping her at C5/C#5.
  • Upper register: Head voice is well connected. Rarely uses falsetto. At times loses the placement of her voice when transitioning into her head voice, but not her pitch. May become shrill when singing above F#5.

Agility

Lee Sunhee’s main musical influences are a lot more traditional than most current contemporary vocalists. Having debuted in the 80’s, she has very little western influence to her singing. As such, she does not often sing with vocal ornamentations. Due to not using vocal runs in her vocal performances often, it is possible to hear that her more complex runs are often pitchy, but when singing simpler trills, she is able to sing the notes relatively well, as heard in “그중에 그대를 만나” and “나 항상 그대를.” However whenever they become even slightly more complex, she starts to lose the control of pitch and start to slide through the notes without being able to direct her vocal cords through each individual pitch quickly enough. The result is usually sloppy and pitchy vocal runs without a clear sense of direction or aim pitch wise, as heard in “그중에 그대를 만나,” and “살아가다 보면.”

Overall analysis

Lee Sunhee debuted in 1984 and has remained one of the most successful and influential vocalists in the current Korean music industry. Her songs have been covered by a number of artists, ranging from idols such as Super Junior’s Kyuhyun and f(x)’s Luna, to soloists such as Ailee and Ben, to even veteran vocalists such as Sohyang. Her music has been transcendent and is still very popular nowadays. Her legacy has earned her the name of 국민디바 or “The Nation’s Diva.” Thus she is one of the most respected female artists in Korea.

Although a lot less widespread, there seems to be some sort of confusion when it comes to Lee Sunhee’s voice type, just like in Park Hyoshin‘s case where he is believed to have a lower voice type than his actual fach. The misconception seems to come from her singing approach. It is often believed that when a vocalist has a larger volume output within a relatively lower belting range that their voice is lower than it actually is. However since contemporary singing is not as precise as classical singing, vocalists often sing with different tone qualities. Different balances of mixed voices, breathiness, manipulation of placements and the larynx position can all affect the overall quality of someone’s voice.

In Lee Sunhee’s case, it seems that some people believe that she’s a mezzo-soprano instead of a soprano. Since her singing technique is quite chest-dominant most of the time, she sounds very full below C#5, which for sopranos is less common since their voices are supposed to be placed higher. However when looking at the bigger picture, a mezzo-soprano’s mixed voice starts lower than a soprano’s and so their belting range is placed slightly lower than a soprano’s. If she were to be a mezzo-soprano, the amount of chestiness she carries up in her mix would make it so that she wouldn’t even be able to mix up to F#5 as naturally as she does. She would sound much thicker and darker if she were a mezzo. Even comparing her to well trained mezzos such as veteran singer Ann, whose mixed voice is quite well balanced, her voice is fairly lighter and brighter. Not only that, but it sits in a naturally higher range than Ann’s would.

Even compared to less well trained mezzos who sing quite lightly in the fifth octave, their lower belting range around G4 is much thicker and a lot more belt-like than Lee Sunhee’s, such as Kim Boa. If Lee Sunhee were as chesty as she is but were a mezzo, she would sing songs in a lower placed range than she currently does. However because she sings below D5 a lot more than she does higher, while placing her sound lower in her chest, it can confuse people into thinking she has a lower voice type than she actually does. Even when listening to her lower range, her voice sounds quite uncomfortable and misplaced when singing below A3/Bb3, despite maintaining some tone. A mezzo would be much closer to their mid-low range around that range, instead of dropping to the bottom of their range with little to no volume output. Of course technique also plays in a part in her lack of lower range development, but even a less developed mezzos like EXID’s Hani or Girl’s Day’s Sojin seem to have more presence in the third octave than her. Her voice type is a lot more obvious when she sings softly without as much chestiness in her mix, as heard in “별 보며 달 보며” and “Can’t Help Falling In Love.”

Her lower range is decently well developed considering her voice type. Despite possessing tone below G#3, her support generally drops around that range. When singing in her lower range, she often chooses to place her sound more in her mask and be slightly breathy to create a softer delivery. Due to stylistic choices, she doesn’t often try harder to project in her lower range. As such, as soon as she sings below G#3, she may keep tone quality but the support in her voice is generally lost. Her vocal cords become more loose in connection, without a tight enough stretch to balance out the air pressure from her diaphragm. The result is a sound that’s quiet, present but unsupported. There also instances in which she tries to project by lowering her larynx. This can be heard in multiple examples of the G#3’s in “Maria” and “섬집아기,” G3’s in “아! 옛날이여,” “당신만을 사랑해” and “오월의 햇살,” F#3’s in “인연,” F#3’s and F3’s in “이 노래를 빌려서,” as well as in “백우,” F#3’s and E3’s in “Dancing Queen,” E3’s in “광야에서,” and Eb3’s in “그중에 그대를 만나.” Above G#3 however she has shown many moments of a clean connection between her vocal cords where they seem to be well developed and support is present, as heard in “안녕,” “백우” and “알고 싶어요.”

Her mixed voice is the most peculiar aspect of her voice, to the point where it even causes confusion about her voice type. Although instances of her singing with a brighter mix are rarer than her singing with a chestier mix she has shown great control in her mixed voice up to D5 when she intentionally lightens up her mixed voice. This has allowed her to sing with great support and openness even as high as C5, as heard in “별 보며 달 보며” or occasionally D5, as heard in “소녀의 기도.” However most of the time her mixed voice is quite chest-dominant, which causes her to have a very large sound output in the fourth octave but quickly becomes shouty and thin as she sings in the fifth octave.

When singing around B4 and lower she is able to produce resonance with the most freedom when singing with a chestier mix because it’s a more natural range for her to be closer to her chest voice. Many examples of her producing a chest-resonant quality in her mixed voice include “아! 옛날이여!,” “J에게,” “추억의 책장을 넘기면” and “알고 싶어요.” However carrying too much chestiness in one’s mix is quite tricky because it requires a lot more control to stay relaxed when being heavy. Generally speaking it’s easier to sing higher when pushing more air into the vocal cords because then one does not need to worry about supporting, as overcompensating with pushed air pressure creates a shouty quality and shouting is an easy unhealthy alternative to supported singing, as it doesn’t require actual training. So instead a vocalist must first learn to mix lightly with proper support before attempting to mix with a chestier approach because being heavier will usually cause them to push and strain their vocal cords.

After learning to mix lightly with support, then a vocalist can start to add more chest up into their mix to balance it out and choose when to be headier, balanced or chestier at will in many parts of their range. However if a vocalist can only choose to be balanced within a relatively narrow range and resort to pushed chesty shouty singing above a certain note, it can cause them to strain their voices a lot. This is the case with Lee Sunhee, who has a strong established sense of support throughout the fourth octave but often carries too much weight up in her mix without enough support to balance it out. The result is a sound that’s resonant around C5 and C#5 but often quite pushed  to the point of almost straining, as heard in “인연,” “시간을 달려서,” “아름다운 강산,” “한송이 국화” and “What’s Up.” However as soon as the vocalist has to sing higher, they start to lose the support and let it be taken over by throat tension, causing them to sound shrill, tense and thin. This can be heard in many occasions, even at times around C5 where her voice lacks openness and freedom as heard in “그중에 그대를 만나,” as well as her C#5’s in “안녕” and “이별,” D5’s in “아침이슬,” “네 꿈을 펼쳐라” and “Unnamed Song,” Eb5’s in “나 항상 그대를,” “그중에 그대를 만나,” “웃음으로” and “이 노래를 빌려서,” E5’s in “해야” and “What’s Up,” F5’s in “그중에 그대를 만나” and “나 항상 그대를,” and F#5’s in “살아다가 보면.”

Her upper register is mostly made up of a well connected and often supported head voice. Stylistically she rarely chooses to sing in falsetto and seems to prefer using head voice. Oftentimes she seems to have issues with the placement of her head voice when transitioning into more opened vowels, where she lets the sound fall a bit into the back of her throat, not quite in the head nor quite in the mask, as heard in “나 항상 그대를.” However many times when singing with a more comfortable Ooh (우) vowel, she’s able to place her sound very well in her head and along with proper support carries her head voice well up to F#5, as heard in “아! 옛날이여,” “I Will Always Love You” and “나 항상 그대를.” At times she also plays with her placement and has shown instances of a more mask-placed head voice in her lower head range closer to C5, as heard in “백우” and “나 항상 그대를.” Her transitions are generally very clean, as heard in “추억의 책장을 넘기면” Above F#5, she may still choose between head and mask placement but seems to be unable to balance support thus becoming more shrill and shouty, as heard in “이 노래를 빌려서” as well as in Healing Camp. The full extent of her range is still unknown as she hasn’t gone above A5 throughout her career.

Intonation wise, no vocalist is ever going to be pitch perfect. However pitch issues to can be attributed to a number of reasons. At times a vocalist may have trained their vocal cords to slide more so than hitting a note at the center of pitch, so they find it hard to stay at the center of each note. At other times, it can come from lack of support or other technical issues. In Lee Sunhee’s case, her pitch issues aren’t too common but when they happen, it’s often either due to lack of vocal flexibility in her runs or due to poor vocal placement. Since she pushes with such a heavy approach in her mix, it can cause her pitch to fall flat and for her to sing off key. Examples can be heard in “Wizard of Oz,” or “나 항상 그대를” as well as “Can’t Help Falling in Love,” “백우” and “아름다운 강산,” where she goes flat on certain notes either because of a slight drop of support, strain or pulling the sound from a resonator that’s too low, limiting the space in which her voice can move more freely.

Since she is more a traditional Korean vocalist, lower placement in the chest was fairly common back then. However that can be limiting to any vocalist, as it can bring issues with throat tension, strain and also limiting the development of one’s vocal range. Another aspect of her singing that seems to be influenced by more traditional folk singing is her vibrato, which often seems to be too fast and forced with a laryngeal movement. This causes her to sound very edgy and tends to cut off her resonance. Thankfully because of her more traditional roots, she often limits the range of songs she sings in and thus does not often sing in a range that is damaging to her vocal cords, even if little regression can be noticed on the freedom of her C5’s in more recent releases. Her sense of dynamics being so sensitive to the music when her support is clean allows her to really delivery the message of songs effectively when within her supported range.

As a vocalist, Lee Sunhee has a legendary reputation for her legacy, artistry and her singing technique that compared to many of her peers at the time of her debut was quite exceptional. However with the advancement of singing technique, many younger peers can be heard singing with technique that’s less damaging to the vocal cords. Nonetheless she has been able to take care of her voice in multiple ways and little regression seems to have happened to her throughout her career. If she were to ever learn to sing with a different approach, it could be tricky due to her having been used to these bad habits for so long. Her current singing technique is sufficient for her repertoire, but can at times be damaging when she sings songs that are higher and more challenging. Nonetheless she deserves respect and is also a very respectful artist who encourages and supports many younger vocalists who take inspiration from her.

Musicianship

Lee Sunhee’s musical abilities don’t often extend to musical changes to songs. She generally keeps her vocal performances of her classic songs the same, rhythmically and melodically. It is rare to hear a change in the melody of a song, which usually happens when she quickly adapts to singing with a duet partner. She is able to harmonize and blend her voice well with duet partners, but musically she focuses her efforts on dynamics a lot more than she would on altering her own vocal performances.

Rating

Above Average Vocalist

Best Vocal Performance(s)

Analyzed by Ahmin (Kitsunemale)

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About ahmin3

kitsunemale from YouTube, AhMin33 from Twitter and Ahmin from OneHallyu! https://www.youtube.com/user/KitsuneMale

122 thoughts on “Lee Sunhee’s Vocal Analysis

      1. Did someone summon me? LOL Some of this is pretty accurate, actually. Everybody thought I’d be comin’ here stirrin’ up trouble, but I ain’t. Of course, I don’t agree with all of it, but I’d rather discuss that in private. I enjoyed reading it. 🙂

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      2. LOL “summon” like you’re a demon lol Sorry I’ve been watching Charmed so this tickles the funny bone.

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  1. “Due to not using vocal runs in her vocal performances often, it is possible to hear when singing simpler trills, she is able to sing the notes relatively well” uhh… isn’t there a logical error here? Isn’t her singing runs not so often supposed to be followed with “hinders even her ability to sing simple trills” instead of “doing relatively well”?

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    1. I can see how I phrased it weirdly. I did mean simpler trills are sung well, but perhaps I should’ve done it in a different way. Let me fix that.

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  2. YES! I’ve been looking forward to this analysis! I really loved that you compared her to other mezzos to clarify her vocal fach – it helped a lot, at least for me. Keep up the good work (:

    Liked by 1 person

  3. Omg!!! I thought Lee seun hee was a mezzo soprano all this time. I always wondered why she sounded so much lighter in her lower range compared to her mix range. I also for the longest time thought she was as good as Lena park or better, I guess I had mistaken loudness for resonance. Thanks Ahmin for this analysis.

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  4. omg first Baek Ji Young now Lee Seon Hee, you’re on a roll Ahmin! thanks for the hardwork as always 🙂 🙂 fighting ^__^

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      1. Me being foreign has nothing to do with my ability to hear her technique. Not to mention fame has nothing to do with technique, I already said that. There are multiple video examples in her analysis, all of which show what the analysis is explaining. If you’re going to discriminate against me and not bother explaining what you think is wrong, then you can’t really complain.
        The only quote of the analysis you’ve shown is one from her weaknesses which again shows me you didn’t actually read the content of the analysis. I’m sorry but if you’re not going to read, then please just leave and don’t complain. We put effort and care into each analysis and if all you can do is read her rating, strengths and weaknesses and complain, then that’s barely fair and is quite immature as well. You’re free to explain what’s wrong, but if you don’t put in even 10% of the effort we made for the analysis, then you keep your mindset to yourself.

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  5. I’m glad to finally see this analysis, though I think it’s very limiting and doesn’t paint the full picture. I wrote a response to it and tried to send it over YouTube, but I guess you aren’t accepting messages there now? I don’t want to put it here because I don’t like public debacles. Is there a way I can send it to you through email or some other way?

    Thanks! 🙂 And I enjoyed seeing your perspective, though I wholeheartedly disagree, and I suspect other vocal students who aren’t so limited in their perspectives will feel the same.

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    1. You call it not limiting, I call it not being able to hear vocal strain but that’s fine. Actually funnily enough I don’t know how I could even turn off messages on Youtube so there should be no reason I couldn’t receive your message. I went to check and indeed I didn’t receive anything. I am surprised you think a 2.5k word essay/analysis is limiting and doesn’t paint the full picture but yknow I did ask for you to send me as many videos as you could and since you didn’t, I based it off of what I could find which was a lot from your channel. I don’t know if there’s anything you could show me that would be any different than what I already heard but like I always say, you’re welcome to write your own analysis if you’d like. But yeah my e-mail if you want is on my youtube channel under business inquiries. Although I am not sure I want to discuss anything because from what I’ve noticed from our discussions, we just don’t hear the same things so if that’s the case, it won’t lead anywhere.

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      1. No, no, don’t misunderstand. I hear what you mean about strain completely. That’s not what I’m talking about when I say limiting. You say we don’t hear the same things, but I don’t think that’s true, so just bear me out. lol Like I said, I agree with some of this. My response isn’t about Lee Sun Hee specifically. I don’t have a problem with your ranking of her because I understand how you got there, though I don’t agree with it.

        And I don’t mean the analysis is limiting because you didn’t take the time to flesh out your ideas. I meant that it’s limiting in the sense that it’s coming from one perspective on what proper vocals are considered to be. I really think you wrote a good analysis, so I wasn’t putting it down in any way! Thank you again, and I enjoyed reading it.

        And yeah, I noticed my videos were getting more views. lol I was confused at first, but then I saw this. lol I’m glad you linked to my videos, by the way. I gained some subscribers. And I will email it to you soon! I don’t know why YouTube won’t let me send it. Maybe it’s a problem with the site? Anyway, thanks for letting me know how to contact you. I’ll email you shortly.

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    1. Like I said, if you just look at the rating then it’s understandable that you could get mad. 욕하기전에 분석한번 읽어보세요.^ ^

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      1. 한글 할줄 아는거보니 영어나 좀 할줄아는 좆문가 병신 찌질이였구만
        이것뿐만이 아니라 이수가 1이고 환희가 5.5인거 보고 웃었다 임마
        임창정노래도 음이 안올라가서 삑살내는 환희가 5.5? ㅋㅋ
        정동하가 6.5? ㅋㅋㅋㅋㅋ
        개그 그만하고 사이트 접어라

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      2. 환희는 바리톤인데요…이수보다 목소리 좀 낮으니까 standard도 다르잖아요. Rating좀 생각하지말고 그냥 분석 읽어보세요. 사실로 한국말 이렇게 잘못하는데 한국말로 분석못해서 죄송합니다.

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  6. 너 외국인인척 하는 한국사람이지?
    전문가도 아닌 주제에 분석은 개뿔
    가수 등급매겨서 뭐할껀데?
    니가 좋아하는 가수 등급 높게먹이고 싫어하는가수 낮게 먹여서 딸딸이라도 치게?

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    1. 제사진은 제가 맞는데요… 외국인인척하는한국사람 아닌데요… ._.
      노래 실력 분석하는거예요. 제가 좋아하는 가수 높게 등급하고 싫어하는 가수 낮게 등급하는거도 아니잖아요. 욕 좀 하지말고 분석 읽어볼수있었으면 그거 알수있을같아요. 등급무시하면서 분석 읽어보세요. 아니면 그냥 나가세요.

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      1. 니가 높게 평가한 가수들 대부분 고음역에서 발음뭉개진다는건 알고 있냐?
        하긴 음만 이리저리 꼬아서 애드립치는게 잘해보일테니말야
        한국말 잘 모른다는데 가사의 의미도 모르겠지
        알았다. 여기까지만 하고 나갈란다.

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      2. 가사 의미가 중요하지 않아요. 발성방법분석하는것 그냥 vocal technique이잖아요. 가사 이해못해도 되죠. 어쨌든 님은 분석 한번도 안 읽어봤지만 계속 욕만 하네요. 분석 안 읽고 건강하는 발성도 뭔지 모르면서 왜 계속 욕만 하세요? 불평하기전에 분석 한번 읽어서 이해해보세요. If you’re unwilling to actually read the analyses, you have no right to cuss anybody out nor complain. So if you won’t read, you already are wrong since all you care about is the ratings.

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      3. 등급 매겨놓고 등급 신경쓰지말라는건 도대체 뭔소리지?
        애초에 등급같은걸 기재하지 말던가
        아무튼 진짜로 나간다.

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      4. 이 분석의 제일 중요하는 포인트는 등급아닌데요. 그냥 등급하고 싶었으면 왜 분석했어야 돼요? 불평해도 분석 안 읽었잖아요 님은….실망이에요. 어쨌든 안녕히 가세요.^ ^

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    2. ㅋㅋ 이런게 진짜 우물 안 개구리지. 지 확신에 상충하는 사실을 만나면 바로 적개적으로 돌변하네. 그럴 수도 있겠다고 생각하고 넘기든가 다른 관점에서 이해해볼 생각조차 못해. 얼굴 벌게져서 예의고 논리고 다 집어 던지고 초면에 욕지거리하는거봐라. 섣부른 추측으로 인신공격이나 하는게 사시나무 떨듯이 사지 뒤트는게 다 보인다 임마. 내가 다 창피하다 인간아.

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    3. 미친놈아 여기 만큼 객관적인 사이트도 없다. 내가 Ahmin한테 레슨도 좀 받고 아는 사이인데:

      1. 얘 확실힌 미국인 (정확히 말하자면 브라질인이 석인)

      2. 얘 전문적인 보컬 강사 확실하거든? LinkedIn 프로필 들어가서 얘 일하는데 체크나 해 보시지 멀쩡한 두 눈이 있다면 ㅋㅋㅋ. 하긴 프로필이나 등급 매기는 룰, 요구사항
      도 제대로 못 쳐읽는 장님같은데 그걸 요구하는 내가 병신이지 ㅋㅋㅋ

      3. 이수 팬인것 같은데 귀 장식으로 달고 다니는거 아니면 이수노래 다시 한번 쳐 듣고 얘기하시지 ㅋㅋㅋ 니가 밑에 높이 평가된 가수들 고음대에서 뭉개진다는데 이수는 생목으로 쳐질러대는게 다거든?

      4. 발성법 쨉도 모르고 아는척 해대면서 나댈거면 제발 여기서 꺼지셈~

      Liked by 1 person

  7. Hey, you mention this here so i’m asking it here, but when you say support is established in someone’s voice or support is present throughout someone’s voice in these analysises(?) does that mean that someone has had moments of support outside their supported range or that their supported range is 100% consistent or what?

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  8. Do not care about the trolling korean one here. He or she might not get it the difference between technical ability and highnote reaching ability. 항상 잘 보고 있어요! 🙂 감사합니다.

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    1. not only that but it’s hella clear that person didn’t even try to read through the analysis, and just blindly & comfortably complaining

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    1. Hello there! You’ve sent 6 comments arguing that the rating isn’t correct, that the best vocal performance isn’t correct, that her voice type isn’t soprano and that she should be re analyzed. But did you actually read the whole analysis? There’s a portion of it dedicated to explain why she’s a soprano, did you read that? There’s also the whole analysis which explains her rating, did you read that as well? Cause if so, explain what part of the analysis is incorrect that would mean we need to reanalyze her. I’m afraid the result would be the same. Stop focusing on the rating and focus on the content of the analysis instead. What is it in the overall analysis that’s incorrect? Can you tell me that?

      The reason why most people seem to question this and Lee Soo’s analyses is because of their legacy. They’re highly respected artists in Korea and so to see any form of critique that does not put them at the top is kind of shocking and I understand that. But I need you to let go of your pre-conceived misconceptions and understand that this isn’t a blog that takes into consideration fame or being a legendary vocalist, we look at their vocal technique only. So instead of basing your idea of them as vocalists on their reputation, read the content of this technical analysis and if you still feel it’s incorrect, I do not mind. But you have to explain exactly what part is incorrect and how.

      Liked by 2 people

  9. And you should try more, put efforts more in this review. Find more videos. How can you choose her very best video ‘소녀의 기도’?

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  10. Tends to only sing with a shrill and shouty approach above C#5. Did you hear we’ve got tonight of Lee sun hee? What is the reason? I don’t understand this whole analysis, though I think like that, I have no time to explain that whole dump. Contrarily to you. Sorry for that.

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    1. We’ve Got Tonight? You mean this?

      1:11 Easily phrased C5’s, with no need to carry up extra weight even though she tends to, showing that despite being a bit of a pushier vocalist, C5’s still sounds relatively low and comfortable in her voice, indicating she’s a soprano more so than a mezzo. 1:18 1:35 1:48 1:52 Eb5’s hit by squeezing the back of her throat muscles, which cause her larynx to raise and her to sound tight, thin and shouty due to the strain caused to her vocal cords. Yes, I have seen this performance before and I’m sorry, but I don’t understand how this is any different than anything else that’s said in this analysis. Could you explain what the point of suggesting this performance was?

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    1. Actually if you read the comments, you’ll see I posted a small comment on this video already. I am acquainted with the authors of the video and it isn’t the first time they and I have disagreements. They’re students with less experience, I think they know a lot of theory, but I don’t necessarily agree with what they hear. I think that you shouldn’t be using someone else’s video to state your opinion. If you disagree with the analysis, you read it carefully and then you explain what parts you disagree with, don’t use someone else’s opinion for this unless you understand exactly what everything we are both saying mean.

      Oh and btw, they and I talked about her being a mezzo before and they called her a mezzo and I’ve insisted many times that she’s a soprano, even in this analysis. After this analysis was written, they released that video in which they added that she’s a soprano as well. So we agree that she’s a soprano, all of us. (Them and me.)

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  11. And I think you would know 판소리, 범패 (불교 음악, some sort of buddhism music) as you are working for some kind of musical jobs, maybe vocal trainer. And her phonation actually has features of 판소리, 범패 as she uses belting which is so similar to the phonation of 판소리, (The features and phonations of belting in western and 판소리 are so similar.) and as her father is a succesor of 범패. So it may sound strangly to foreigner like you. But she mixes all that bunch of phonations ‘판소리, 범패, belting, mixed voice, head voice, falsetto, etc.’. She is actual living blast furnace.

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    1. I understand what you mean and actually because of the 발성방법 of 판소리 being so different and specific to traditional styles of singing, we at this blog refuse to analyze vocalists who sing 판소리. Simply because we are not familiar enough with traditional styles of singing like 판소리, Portugal’s Fado, Spain’s Flamenco, etc. since we are too young and we only look at contemporary styles of singing. We don’t even analyze classical singers like 조수미 because this isn’t a 성악 blog. Because of that, if we look at 이선희 as 판소리 singer, then sure, her technique may be different. However she doesn’t sing 판소리 most of the time, instead she sings contemporary music. When you sing contemporary, especially if you sing Jazz, Rock, Musicals, R&B, etc, your technique should change according to each genre. She still sings with a throaty approach and tension even when she sings other genres, so saying that she has influences in her belting from 판소리 or 범패 is not enough because as a skilled vocalist, she should be able to change the way she shapes her throat, positions her larynx, places her sound, etc, according to each genre and she doesn’t. If she were to solely sing 판소리, I wouldn’t even have analyzed her because I can’t pretend I’m familiar with most traditional styles of singing. I know of them to an extent, but I can’t tell someone if they’re a good 판소리 singer or not, because that would be hypocritical. However when it comes to a contemporary vocalist, technique works differently and she’s simply singing the same way all the time, with tension. Again this is all explained in the analysis. I appreciate your point of view and I get that she’s a respected artist, but it really seems like you haven’t read the analysis at all yet.

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    1. There are F5’s too, where I also hear strain, I was just focusing on the Eb5’s cause she’s also hitting Eb5’s. Also may I ask you a question? Why do you write like 5 or 6 comments, instead of just writing everything in comment? lol

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  12. 그리고 개인적으로 궁금한 게 있는데, 이렇게 일일이 답장 달아줄 시간이 충분합니까? vocal trainer 직업인 것 같은데 말이죠.

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  13. Musical ability? lol and lol so much.

    전성기를 구가하던 1980년대에는 각종 음악 방송이란 방송마다 모조리 출연하며 주류 팝 음악[* 그녀 자신 대부분의 곡.], 락[* 아! 옛날이여, 아름다운 강산, 너에게 가면, [[김경호]]의 나를 슬프게 하는 사람들, [[버즈(한국 밴드)|버즈]]의 [[가시(노래)|가시]] 등], 발라드[* 그녀 자신 대부분의 곡. [[임창정]]의 소주 한 잔, [[백지영]]의 잊지 말아요 등], 트로트[* [[이주일]]과 함께 한 무대에서 부른 [[나훈아]]의 울긴 왜 울어, [[주현미]]의 짝사랑, 잠깐만 등], 알앤비(소울)[* 그녀가 최근에 직접 작사, 작곡하여 발표한 대부분의 곡.], 재즈(라틴)[* 그녀가 최근에 발표한 일부 곡. [[백지영]]의 Dash 등.], 모던 뮤직[* 왜?, 꿈 등 그녀가 최근에 직접 작사, 작곡하여 발표한 일부 곡.], 뮤지컬[* 피터팬, 오즈의 마법사, 박문수 등], 오페라[* 문화 초대석 바리 등], 심지어 외국 팝송[* 4 Non blondes의 What’s up, Kenny rogers & Shenna easton의 We’ve got tonight, [[휘트니 휴스턴]]의 ‘I Will Always Love You’, [[마돈나]]의 ‘Like A Virgin’, [[바브라 스트라이샌드]]의 ‘Woman In love’, [[ABBA]]의 ‘Waterloo’, ‘Dancing queen’ 등.]과 국악(민요)[* 조각배, 성주풀이, 한네의 이별 등]까지 거의 모든 음악 장르를 소화해 냈다. 자신의 노래보다 타 가수의 노래를 더 많이 부르는 진기록을 만들어내기도 했다. 실제로 1990년대에는 뮤지컬 ‘오즈의 마법사’, 2000년대에는 오페라 ‘문화초대석 바리’ 등의 무대에 출연하기도 했고, 2016년 [[판타스틱 듀오]]에서 부른 ‘[[알고 싶어요]]’에서 힙합(랩)까지 소화해 내는 모습을 보이는 등 그만큼 이선희의 음악적 스펙트럼의 폭은 굉장히 넓다.[* 자신이 직접 작사, 작곡에 참여하는 싱어송라이터라는 점도 이러한 넓은 음악적 스펙트럼의 한 이유이다.]

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    1. 장르 많이 부를 수 있는게 실력이죠. 근데 다른 장르를 할때도 발성 방법 좀 바꿔야 돼요. 그건 아세요? 이런 뮤지컬할때도 placement는 좀 mask로 느껴야되고요 후두부가 늪으면 안돼요. 알앤비/소울도 vocal runs할때 precision 정말 잘해야되는데 이선희씨는 runs할때 이런 빨리 움직이는것는 잘 못해서 음정하고 박자도 잘 안 맞아요. 뮤지컬무대하고 다른 외국곡도 그리고 판타스틱 듀오 무대도 다 봤어요. 분석 좀 읽으면 다 볼 수 있을텐데요. 정말 죄송하지만 이런 분석 인정못하는게 저도 이해할수있지만 님은 읽지 않으면서 계속 불평해서 너무 불공편하지 않아요? 한번 읽어서 이해해보세요. 그리고 5개국어 배워도 다섯번째 배웠던 외국어는 한국말이여서 아직 한국말 이렇게 완벽하게 말할수 없어서 정말 죄송해요. 한국말로 다 설명하고 싶지만 실력이 좀 부족하니까 뭐 이런거 저런거 한국말로 어떻게 말하는지 잘 몰라서 어쩔수없어요. 다시 읽어서 이해해볼수있으면 좋겠습니다.

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  14. I know if you rank Cho yong-pil, you will rate him a weak vocalist. You are so arrogant, and narrow-minded. How can you say ‘the author is like a baby student. I don’t hear any of them as he said.’? Then I can proudly say to you, even though I’m not working on musical-related job, as a major of vocal music, I don’t agree with you cause I don’t hear any of those bunch of whole things you wrote which you said as her weaknesses. Lee Sunhee’s musical abilities don’t often extend to musical changes to songs. ?? She has more than three voices if you divided her life ‘1984-1992’ ‘1993-2002’ ‘2003-2007’ ‘2008-now’. Her vocalization changed every time, every single moments.

    And as you said, if you cannot admit what the author of that video, if you ignore those infutations like that, I would say to you the same things. And I didn’t say it cause I worried it would hurt you, but thanks to you that says like ‘I ignore those infutations as -‘, I can say it. The important thing is ‘Good vocal technique doesn’t mean sings better’ And furthermore, if vocal technique is that important, how people hear is important. Not how any of professions (자칭) like you hear. In criticofmusic, they placed Adele in rank C, and people rating puts her in S. That people rating is important, not theirs. So it is not so important your rating, as long as most people hear her singing as a masterpiece. But though, I cannot agree with you. And on the behalf of those who thinks like that, I wanted you to realize that ‘how people hear is important, not you.’ Most people in Korea admit that for just vocal technique, Sohyang slays Lee sunhee. But they, most people also admit that Lee sunhee actually sings better than Sohyang. Who sings better cannot be judged by some kind of technique. And I wanted to tell you that if opinions of people’s and professions’ are so different and getting start to conflict each other, WE MUST OBEY WHAT PEOPLE SAY.

    And people in overseas also hear Lee sunhee’s singing very nicely. Even if she cannot sing like songbird supreme and sohyang. Sohyang is actually one of my favorites. My favorites are Lee sunhee, Lee eunmi, and Sohyang mostly. But I couldnt stand that Ms. Lee is so underrated like this. I just wanted to say that what people hear is important, again. And I ask you for rating Cho yong-pil in the terms of VOCAL TECHNIQUE. Well how you would rate him, I wonder.

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    1. Not sure who are you trying to convince here but I’d trust an experienced vocal coach rather than the general public. By the way criticofmusic isn’t reliable. And I’m pretty sure most of the things that you commented (under different user names, I assume) have already been addressed by Ahmin and Pandayeu, that is if you actually took the time to understand things from an objective perspective

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    2. Excuse me, how am I arrogant? I said they’re students with less experience. I never called them “baby students”..what? Also I’ve had extensive e-mail conversations with the authors of the video. We’ve discussed our different hearings and what we consider what and we’ve agreed to disagree and that’s it. I don’t agree with what they hear, but I respect them for their different opinion. But you’re not them and you’re using other people’s videos and not your own opinion, there’s a problem there.

      You just said “I don’t work in a music related job and I’m not a vocal major but I don’t agree with you cause I don’t hear the things you said.” Let me put this into perspective for you. If I said “I’m not a doctor, I don’t know medicine, I don’t see anything wrong with that person’s body, so therefore they don’t have a tumor and they’re not sick.” Because I think the doctor is wrong because the doctor says someone has a tumor but I can’t see it. Is that very different from you? Just because I don’t see the tumor, it doesn’t mean it’s not there. Just because you cannot hear the things I told you are there, does not mean they’re not there. Just because a colorblind person cannot see some colors does not mean those colors don’t exist. Right?

      Dear, I do appreciate and completely respect what you’re saying. I understand what you mean, yes the public has their own vision and opinion of singing and vocal. We repeatedly say on this blog that we are a VOCAL TECHNIQUE blog, not a blog about “How someone’s voice makes me feel” or “My favorite voices in K-pop” or “My favorite singer in K-pop.” This isn’t that kind of blog. Lee Sunhee’s rating is 100% based on vocal technique and nothing more. What you’re saying is we must consider the public’s opinion but then what’s the point of a blog about vocal technique in the first place? If you read the analysis, I repeatedly express how respected and renowned she is as a vocalist in Korea, it’s just technically her singing isn’t the most developed. And that’s perfectly fine, because you do not need good singing technique to be able to be a successful artist. Madonna and Britney Spears are huge pop icons, but they’re not examples of good vocal technique at all. Is that a huge problem? No, their music was never meant to be vocally challenging either.

      This has nothing to do with what we consider our favorites or not, this is solely a blog about vocal technique. So instead of being mad about her rating, it still feels like you didn’t read the analysis. If you don’t want a professional opinion on someone’s vocal technique, be it Lee Sunhee, Lee Eunmi or anybody else, that’s perfectly fine. You can just ignore us. But you can’t be mad at us for not having the same opinion as you or the public. If the public cannot hear vocal strain and they think Adele’s singing is amazing, does that mean we should rate Adele as high as Sohyang? No, because we’re not a blog run by the public. If that were the case, we wouldn’t do vocal analyses, we would do polls and ask people who they want where. But that’s not what we are and you must understand what you think and what we are doing here are not the same thing. We can exist and respect each others’ opinions though, that you also must understand.

      Also I did see your Korean comments and I know you took an hour to write all of that and I deeply appreciate the time you spent with this conversation and everything but I just do not have the time right now to respond to that and I might respond later tonight when I’m freer. Right now, unfortunately I cannot. But I saw your comments, don’t worry, they’re still here. I just want to leave them as unapproved so I don’t forget to respond.

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      1. I told you! They’re unapproved so only the other admin and I can see them until they’re approved, I actually have a comment from Monday that I didn’t respond to yet cause it has videos for me to watch and I haven’t had time to watch them so your Korean comments and that comment are left as unapproved until I have time to respond, which should be today. ^ ^

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    3. I understand your point about technique not being the most important thing in the world, and people can choose someone to be a better singer than someone even if their technique is not as good, such as your example with Sohyang and Lee Sunhee, but this blog is a blog dedicated to VOCAL TECHNIQUE, so obviously in the context of this blog, and it’s audience, that should definitely be the most important thing. Like, if you don’t like it, then why are you in a blog focused on technique? o.0 it’s like going on a fitness forum and saying that this guy who is chubby is more attractive to you than this other guy who is very fit, and that the people on the forum saying the fit guy is in better shape and a better physical specimen are idiots and arrogant. like okay sure a person could definitely find the chubbier person more attractive and that is 100% fine and normal, but in the context of a fitness forum, where the focus is on physical fitness, obviously the guy that is fit is deemed a better physical specimen.

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  15. Dude, chill out. You claim that this site is biased or whatever but it just seems like you’re salty because LSH isn’t good as you want her to be. Reading your comments made me laugh, though. And that video where you called her clearly strained belts supported cracked me up. If this site is so unreliable, why are you spending so much time here?

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  16. To everybody here, I’m glad the video I made is being used in the discussion, but please don’t take it out of context. For the record, I do agree with Ahmin that she is a soprano and that she does have some tense notes in the upper register. I think this is a product of her dated training, however, and that’s where most of my disagreements with Ahmin lie.

    The important information to take from the video, however, is that she consistently supports in her mix until D#5 and produces resonance in her mix until D5, while also supporting down to G3 with great placement and projection. That in itself (in my opinion) should alter the ratings here a bit. And I do think she has more control over her supported range than most other vocalists in her country. That being said, her notes from F#3 to D#3 could be much better, and her technique down there is unhealthy not because of her training but because she has not developed her voice properly there at all. Also, in her mixed range, she is very tense around E5 and all mixed notes F5 to F#5 are strained with a high larynx. That’s why I say that her GOOD supported range is G3 to D#5 (including her mix), and if you judge her by the standards of the technique she was trained in she’s not bad up to F5. I also do not think her style facilitates much support after D#5, though, so I wouldn’t include any of those notes in her supported range.

    My problem with her ranking is that it’s not fair in relation to other people. Within her supported range she is much better than most other vocalists, even vocalists who are ranked higher than she is. She has great pitch and dynamic control in this range, not to mention that her ability to play with her mix in this range far exceeds any of her contemporaries. What I mean is, she can mix lightly with resonance (and even balance) until D5 (has shown this on multiple occasions), but she can also sing in a style closer to Mahalia Jackson, with a properly lowered larynx position that is more modeled after classical music (except it is chesty). Let me give an example of both to show what I’m talking about:

    Here is a performance of “Silent Night” from 1995 (first 2:05 or so of the video). Here she is singing with a chestier approach and also with a lowered larynx. For the most part, she executes this well. She doesn’t shove her larynx down like Shirley Bassey in order to achieve a bigger sound. Instead, it’s largely open and supported, though certainly not perfect.

    She’s doing the same thing here from around 3:50 to 4:18. Admittedly, the D5s hit here are not good at all, but the highlighted segment is mostly nice, aside from one vowel where she gets noticeably too chesty. This is from 1998.

    Now, I think a lot of people view Lee Sun Hee as a one-trick pony. But you can hear here from 3:30 to 3:54 her mixing very well and with resonance. This is, by the way, the range where she starts having “tension issues.” This is also from 1998. You can see that she is able to sing in many styles concurrently and with a great deal of precision and discipline in each. Yes, she may only have a supported range of G3-D#5 (even by MY standards), but this is inconsequential when looking at the amount of development (and the diversity of this development) she has within this range. Like I’ve stated, even if you want to disagree with me about her supported range within the style she initially trained in, she’s quite decent at mixing, too.

    Just for a quick comparison:

    Here’s a recent video of Kyuhyun. Let’s just take a small sample (from 1:30 to 1:47). I just pulled this at random. You can hear some very basic support and an overall breathiness. It’s clear that his voice has not reached the level of development that Lee Sun Hee has achieved. But he’s ranked higher because he supports a wider range (or at least I think that’s why). This is my problem with the ranking system. It doesn’t take into account the depth of support a vocalist can have in her range nor the specific context in which vocalists were trained. What I mean is that if you followed strictly the standards laid out on this blog, you would have to say that there were absolutely NO vocalists who were even “above average” until at least the 1960s, when Barbra Streisand and Aretha Franklin debuted. Contemporary music had existed for decades before them with celebrated vocalists such as Judy Garland, Mahalia Jackson, Ella Fitzgerald, etc.These were all highly-trained women. Are we to discount them simply because of they lived in a different time and trained under a different context? I think the same thing applies to Lee Sun Hee on a smaller scale.

    Now before anyone jumps on me: this is NOT an argument stating that Lee Sun Hee is Korea’s top vocalist. I don’t believe she is, even by my standards. This is simply a different opinion. I also don’t think it’s fair to say that she is only respected because of her reputation, though, as her reputation is that she is a great vocalist, and she earned that through years of vocal study and effort. We might not agree fully with the ideas of her training today (even I don’t), but it’s a little unfair to suggest that her reputation is undeserved; it simply needs to be looked at in the proper context. And that doesn’t go just for Lee Sun Hee, it goes for every vocalist in the world regardless of style.

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    1. I’m not sure I agree with many of the points you made here. First, nobody is saying that her reputation is underserved. Second, Ahmin has stated many times before that supported range alone is not the determining factor for rankings and depth of support is very important in an analysis. If that weren’t the case, then people like Wendy would be ranked higher because she has a large supported range but doesn’t resonate often. Here’s an example with Park Jimin and Baek Yerin. Yerin can support higher in her mixed range, but Jimin has better resonance there, so Ahmin has stated before that their mixed voices are similarly developed. I also don’t know how Kyuhyun has “basic” support when he is consistently resonant within his supported range. He might have been breathy in your example, but being breathy is not one of his overall technical flaws. Third, you say that it is unfair that she is not ranked in relation to other people, yet I’m pretty sure this ranking system is doing exactly that. You stated that her dated training has resulted in some of her upper notes to be tense, but those notes are still tense and this is still a flaw in her technique. It’s not fair to rate her more favorably because she was trained differently. Should all JYP singers be given a break because they are taught to sing in a very breathy style? If you look at the criteria for each ranking (that can be found on the home page), you will find that Lee Sun Hee mostly fits the criteria of her ranking and that the people in her category also fit the criteria and are at a similar level of development. Lastly, I feel that you are focusing on the ranking too much. The phrase “above average” can throw people off I guess, but the content of Lee Sun Hee’s analysis is much more important (and more interesting) than the ranking alone. Have you read it? It’s a good read.

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      1. Of course I’ve read it. I made a whole video responding to it. At the same time, Ahmin is wrong about what her supported range is (it extends to D#5 consistently). Other than that, my point is that Kyuhyun is not consistently resonant within his supported range, and his top notes especially are very throaty and forced. Even within the comfortable part of his supported range, he does not produce the same level of resonance or sing with the ease or precision that Lee Sun Hee generally does. He doesn’t even sing with the same amount of ease that other vocalists who are ranked at his level do. So it doesn’t matter to me that he supports a wider range because his support within that range is very shoddy.
        Now as to the training issue, you are missing the point. I’m not attempting to justify every type of vocal style. I’m only doing so in this case because it was a very widespread style with academic origins, and there are still credible vocal coaches who teach it today. It’s not a stylistic thing as much as it is an antiquated thing. I’m not saying it makes her better overall, but it’s important to know that at the time of her training (in Korea), contemporary styles were not as developed as they are today, and she was considered a great student of her style. That’s all I mean. My issue, though, is that even if you want to discount that, she’s proven that she can mix with resonance until D5 and support in her mix until D#5, and these notes are BETTER than Kyuhun’s notes from at least A4 up.
        This is what I mean:

        Kyuhyun has two A4s in this battle, and they are both awful.He is undoubtedly the worst in the video. Now go to my LSH refutation video and compare the quality of his A4s to her mixed notes, and you will see her notes are far more resonant and open, have more clarity, and are more controlled in general. I’m not talking about her “belted notes,” but her mixed notes. I honestly don’t see how anyone could have a problem with the mixed notes I included in that video. And that’s just a sample. She’s proven to be able to support in this range throughout a thirty-year career and doesn’t get credit for it. So you want to say she doesn’t support E5, F5, and F#5 in her mix? Okay, I’ll give you that, she doesn’t. But it’s hard for me to credit anyone who can listen to her notes G3-D#5 and not admit that they are supported with MORE support than Kyuhyun’s. And I’m merely talking about her MIXED range. I’m not even debating her abilities to sing in her original style, which she also does very well.
        As for Kyuhyun, this blog gives him support up until around C5,but it’s clear he’s got issues even as low as A4. His support throughout his range is very basic, and he’s not producing consistent resonance in this range like other singers of his purported caliber. Just compare him to Jo Hang Jo (who’s also in that video and has a range video on my channel). Jo Hang Jo produces much more resonance throughout his range, but you won’t hear him talked about on this blog because he’s not a fan favorite like Kyuhyun is. He’s got a more balanced and resonant mix than either Jeong Dong Ha or Sandeul or even Sohyang for that matter until around A4/A#4, but no one knows about him. There are much better vocalists worthy of the high status this blog gives vocalists like Kyuhyun and Sandeul (and yes, Lee Sun Hee is one of them). So do I think Lee Sun Hee should be a little higher? Yes, I do, maybe at least “good,” but that’s not even my main complaint. My main complaint is that everyone else seems to be a little too high. Just to give examples, Kyuhyun, Sandeul, Jeong Dong Ha (who is consistently throaty above G4), Sohyang (who does not have three developed registers or consistent pitch/control most of the time in difficult phrases or in unedited performances), Park Hyo Shin (whose top notes are very thin and tense, despite the massive improvements he’s made), Ailee (who sounded awful at her last concert), etc. Speaking of Ailee, Lee Sun Hee’s real supported range is close to Ailee’s, and certainly her ability within that range far exceeds Ailee’s, but again, I digress. And by the way, this is not to say that any of the vocalists I just listed aren’t that good; they are some of the best active in Korea today. But they aren’t as good as the blog makes them out to be. Basically, the insistence that Lee Sun Hee is above average isn’t really the problem, even though I don’t think that’s right. The real problem is that other vocalists seem to get more of a pass in terms of their rankings, even when they don’t need them.
        Now to your claim that if I go to the “above average vocalists” section I’ll find that Lee Sun Hee has the same level of development as those vocalists. This is obviously not the case. Not only does she support higher in her mix, but her overall development is much greater. Here’s an example of what I mean:

        Here’s a performance of Solar from Mamamoo. She’s also above average, but do you hear the same level of development throughout her voice? Surely you cannot. Her singing is not on the same level. She doesn’t produce resonance in the performance. Her projection is awful, her breath support is weak. Now here’s Lee Sun Hee.

        She’s singing largely in a similar range, but she actually projects her notes, has great dynamic control, a rich, forward, round, and resonant sound, etc. This is much better development than vocalists of her purported level. That’s ignoring the fact that she has a great mix until D#5 when she chooses to use it.

        I hope you can see what I’m getting at. Again, this isn’t to say that she’s a stellar vocalist, simply that she is better than “above average,” and there are certainly other vocalists rated much higher who don’t have the same control and execution within their “supported” ranges. To be clear, I’m not saying that vocalists are rated highly here just because they have wide supported ranges. I’m saying that an otherwise weak vocalist with a wide supported range will be rated higher than a more technically-precise vocalist with a smaller supported range, which seems strange to me.

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    2. Well this was also an interesting read. Ooooo, we are definitely not hearing the same things.

      Support shoddy? Not producing consistent resonance? You know, I’m a little surprised at this because, I’m sure if you go finding other instructors who are also very knowledgeable in correct vocal technique and have them analyze Kyuhyun, you would find yourself on an island. Sohyang lacking pitch and control? I guess the last performance you saw of hers was from the 90s. I guess you also like to compare apples and oranges because that Solar performance was completely different to Lee Sun Hee’s. How are these performances similar enough for the comparison you are making? Lee Sun Hee is singing extremely softly and going into falsetto and head voice for a good portion of it, unlike Solar who is loudly belting throughout. Funny how you criticize Kyuhyun’s breathiness when Lee Sun Hee is ready to be scouted by JYP with this performance. You just picked a performance of hers that sounded pretty, but unlike you, I did not find it to be that vocally dazzling.

      Again with her training, if something could be potentially damaging (like “tense upper notes”), even if she learned it with her antique training or vocal style, then it is a flaw and I feel like there is no way around that. Vocal training has improved, so if Lee Sun Hee wants to improve her technique, she can, and there is literally nothing stopping her. It may not be easy especially at her age, but it is possible. If she has even the slightest potential to correct areas of her technique, then she deserves to be graded on the same scale as everyone else.

      “To be clear, I’m not saying that vocalists are rated highly here just because they have wide supported ranges. I’m saying that an otherwise weak vocalist with a wide supported range will be rated higher than a more technically-precise vocalist with a smaller supported range, which seems strange to me.” Soooo…… that is what you are saying. And also untrue. I would again suggest you take a look through some of the other analyses because it seems like you haven’t read enough of them or you are skimming them. They are a good read.

      All in all, I would suggest you take a look back through the two posts that you made and see if something seems off about them, because at one point (and I’m not exaggerating here), I even considered that you might be trolling based on some of the things you had written, and I’m sure that is not how you want to come across to other people.

      Liked by 5 people

      1. Yes, his support is “shoddy.” What I mean by that is that it is apparent that his voice is not very developed. And for a vocalist who supposedly supports until C5, his A4s are very throaty. If you can’t hear that, that’s on you. Honestly, guys on this blog are rated a lot more leniently than females. Is it because they look good? I don’t know. I’m not going to make that claim, but I could see how someone could feel that way. You honestly cannot listen to a large portion of Kyuhyun’s notes A4 and up and tell me that they are supported well and with resonance. A great deal of them are very tense and nearly throaty, and even ones with support aren’t generally resonant (from what I’ve heard). If you think that his technique is the mark of a “great” vocalist, you can’t know that much. The same goes for Dong Ha, who’s obviously much greater than Kyuhyun, but who also has a very throaty technique in general G4 and up. Yes, he can support higher, but he doesn’t do so often, and he can’t do it consistently or very well. Again, out of all Korean male vocalists who sing in purely contemporary styles, Jo Hang Jo has the most balanced and resonant mix, but where’s he?

        Just to show what I’m talking about.Here’s Kyuhyun’s range video:

        Now we need to remember that Ahmin says he has support until C5, and that his “resonance, control, and support” are “almost IMPECCABLE” (emphasis mine). Think about what that means for a second.

        Starting with his lower register (he supposedly supports well until Bb2/B2), you can hear no support on the note at 1:14 and pretty much the same with 1:15. Some of the C3s are really breathy, but I do think they are supported, just not well.

        For his mixed register:
        3:06 The G4 is very tight and thin. The sound is obviously not free or very forward.
        3:10 The G4 here is better, but it’s not very free, and you can hear this at the near push at the end when the vibrato comes in.
        3:30 This A4 is simply bad. The sound is very tight and squeezed. This isn’t the “consistent resonance” you were talking about, for sure.
        3:40 This A4 is tense. There’s nothing resonant about this sound. Many of his ends (like this one) end with a very fast, almost goaty vibrato.
        3:48 I can’t say much about this A4 because I can’t hear it. But if it were so resonant, I shouldn’t have this issue. Where’s his projection?
        4:00 The G#4 isn’t perfect, but the Bb4 afterwards is flat, and he uses the vibrato to try and push it back on pitch.
        4:08 The G#4 and Bb4 are both pushed, especially the Bb4. Very tight and tense and not resonant.
        4:23 That Bb4 was very thin and tense. The sound is obviously not free. Not resonant at all.
        4:30 The Bb4 here is better, but it’s very tense and pushed and with a forced and slightly wide vibrato to try and push the note on pitch.
        4:35 Strained Bb4, again with that pushed vibrato at the end of the note, this time making it go sharp. Just for the record, this one also is not “resonant.”
        4:46 Thin B4 that started out flat and ended up sliding onto pitch. Very tense, like the one he hits right after it.

        Now let’s look at a few performances from his analysis.

        Ahmin says the A4 in 사랑했지만 is resonant, but I’m still hearing constriction issues. This is not a very developed resonance at all.The “resonant” Bb4 in Bolero is almost throaty, and he does the same forceful pushing at the end to try and correct the note. I don’t see how people aren’t hearing this.The “impeccable” note in 기억의 습작 is not impeccable, but not bad at all. It’s the best note I’ve heard from him, but he’s still having the same issues opening his throat for a more resonant and projected sound. So a supported range from Bb2 to C5 with consistent resonance within this range? I’m not hearing it.

        Now for LSH and Solar. Yeah, the performances aren’t the same. I just pulled the first two performances from my list, and I don’t know Solar too well, so that’s probably on me. But you can tell that there’s a developmental difference between the two vocalists. It doesn’t matter that Lee Sun Hee’s was slower and more jazzy, while Solar belted more. You can hear the development in a vocalist’s voice no matter what they are performing. Beyonce is a good example. She sings similar music to Solar and ballads like the one I sent for Lee Sun Hee, and you can tell no matter what she’s singing that she has a more developed voice than Solar. Sorry for you that you need them to be singing the exact same style to be able to hear it, but I don’t need it. And I’m not even saying that LSH is the be-all-end-all of vocal development. She’s far, FAR from it–but there is a clear difference between her ability and Solar’s. And to use your words, any credible vocal instructor would tell you that. Lee Sun Hee’s performance was softer, not very breathy, and she displayed far more control than Solar or Kyuhyun in theirs. Again, it had nothing to do with the performance being pretty. It had to do with that’s the first one that appeared on my recommendations list. lol

        As for Sohyang, no, the last performances I heard from her were from her recent concert. Her pitchy “I Will Always Love You,” etc. They were all lackluster; she lacked control throughout parts of almost every performance in her last two concerts. She’s done that consistently throughout the years every time she gives an unedited performance. She can’t even stay on pitch in “Lean On Me.” There’s even a debate about what note it is because she’s so off-pitch so often. But of course, she’s always “sick” or “doing it on purpose.” She doesn’t even perform enough to be consistently fatigued. Even notes that should be easy for her, like the F5/F#5 in her duet with Sumi Jo, frequently cause problems for her in terms of pitch. But don’t take it the wrong way. She’s definitely the best Korean vocalist of this generation, and she’s far better than anyone else on this blog. Even Lee Sun Hee doesn’t match the amount of freedom in her voice throughout her range, despite having far more chest development and resonance. This is partly due to the fact that Lee Sun Hee is chesty, but part of it is that Sohyang has really mastered her mixing style, so I’m not trying to discredit her at all. But you cannot ignore that she’s not as good as y’all wish her to be. And I don’t understand the push to make an incomplete, inconsistent vocalist something she’s not.

        Now to your statement. Again, no, that’s not what I’m saying, and I don’t know how you don’t see that. Maybe read between the lines? Or look at it without your preconceptions of what I’m trying to say? It might help. A wide range is not the only criteria, but it has more weight than a great (but limited) supported range. I think you know that’s what I meant, and if you didn’t, don’t try to pick my words because you obviously didn’t understand it. I think you did get it–to the extent that you could–but the point is, don’t try to analyze words in a debate when you don’t even know what they mean. It seems like people are trying to do this so much these days, but if you want to play that game, I’ll do it to you, and we’ll get nowhere. Anyway, the real salient point is that it’s hard to argue that what I’m saying is wrong. To use an example not used before, Yang Hee Eun is a dramatic mezzo with unquestionable support from at least c#3 to C5 (in her mix). She sings with a very technical style that more mirrors a classical approach because she’s singing with a lot of head voice in her mix, and she’s lowering her larynx for greater resonance. And she does it very well, maybe flawlessly most of the time. The problem? She only goes until C5 and even though she produces resonance at least as low as F3 (maybe even E3) and supports from C#3 to C5 (with resonance on her C5s), she’d be what? Good by this blog’s standards? Her voice is developed to the point that she can project over at least eleven other vocalists, some of them highly-trained (which she did at a group concert before). The quality of the resonance and the depth of her support are about as great as you can expect in contemporary music. Her level of precision and control far surpasses anyone analyzed on this blog. Certainly she’s greater than Kyuhyun, who has serious issues at least from A4, has really breathy and basic support throughout, etc. But undoubtedly, Kyuhyun will be ranked higher simply because he doesn’t have many noticeable and detrimental flaws to his approach throughout a wider range. It’s the development within the range that matters. For the record, you can hear the developmental differences between YHE in her supported range and other great vocalists in their supported ranges just by listening to her duet with Sohyang. It’s clear that Sohyang has to belt out to have power in her notes, and YHE was almost talking her notes and producing far more resonance and projecting over Sohyang until Sohyang starts to belt. But I guess none of that really matters because a mezzo should support until E5, right? Even if they were trained in the 60s/70s? That makes no real sense, and I think a lot of people realize that. Ahmin is a great student and works hard, but it’s true that the standards laid out in this blog are COMPLETELY arbitrary, and don’t argue that they aren’t, because Ahmin proves by ranking Sohyang as an excellent-level vocalist even though you have to do mental gymnastics to fit her into the excellent-level category as written out on this blog. The truth is, she has terrible chest development, and this fact is often covered up by her wonderful mix.

        Now all this goes to Lee Sun Hee to a much, much smaller extent, but your claim that she should have revised her training and her style should be discounted isn’t important anyway. I’ve shown over and over that she can support in a mix until D#5 and produce resonance in her mix until D5. She’s balanced D5s in her mix since 1986, frequently since 1998, and as recently as 2017, but that doesn’t matter because everyone wants to be stuck on the fact that a part of her career was largely spent executing a different style. There are other vocalists who do the same thing and get the benefit of the doubt. Beyonce is one. She frequently is much too chesty in the same way, “belts” her notes, and she’s far worse at it than Lee Sun Hee is. She’s tense and sometimes even strains, but she can also mix well until about E5, and so Ahmin has said that Beyonce does the other stuff stylistically (correct me if I’m wrong, but I know I read that on this blog one time). So Beyonce can be chesty sometimes and mix well (but inconsistently) and it’s stylistic, but Lee Sun Hee can do the same thing, and her mixed notes will go ignored? It’s simply not true that she has tension issues starting at C#5. Maybe she does in your perception of her initial training, but that’s not the only way she sings. It’s her preferred style, but it’s not the only style, and she’s demonstrated a healthy and supported mix long enough and often enough for it to be recognized (unless 31 years isn’t enough for y’all). Even then, I’m not saying she’s got a great mix. I know it’s not Sohyang’s or even Ailee’s. But she does support in her mix until D#5, and that’s worth crediting. The only truly indefensible part of her voice is her lower register. Even as a soprano, she has no excuse for not developing her voice in this range. But solid support from G3-D#5 isn’t bad, and it’s certainly above average, especially when taking into account the depth of support in that range.

        In closing, this is not an attack on the blog or on Ahmin, and I hope you don’t try and stick to the whole “you just want LSH to be better” thing or the “but it doesn’t matter how she was trained, she’s still tense” argument because those are not the points I’m addressing. I’ve stuck to the technical argument, I’ve presented the evidence that she supports in her mix, I’ve show examples of vocalists rated higher who have worse issues in their supported ranges, etc. And for the record, a lack of evidence cannot be disguised with unwarranted and unnecessary condescension.

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    3. “But he’s ranked higher because he supports a wider range (or at least I think that’s why). This is my problem with the ranking system. It doesn’t take into account the depth of support a vocalist can have in her range”
      I’d have to disagree with this. The people are not ranked/rated solely based off their supported ranges. I mentioned this before on OH to someone else, and I want to share it with you as well.
      Some examples i’ve personally looked at where we can clearly see that vocalists are not ranked solely based off their supported ranges are: Taeyeon vs Wendy, Sunny vs Kei (lovelyz), Solar vs Narsha. Wendy has a wider supported range than Taeyeon, having F#3 in the lower register and support up to A5/Bb5 in head voice, both with C#5/D5 in their mix but Taeyeon is ranked higher. Sunny and Kei both have roughly Bb3-B4, Sunny has until F#5/G5 in head voice while Kei doesn’t even really support head voice but Kei is ranked higher. Solar and Narsha both have A3-C#5, with Narsha having until G5 in head voice while Solar doesn’t have a supported head voice, yet Solar is ranked higher. I won’t pretend to be knowledgeable enough to butt in your debate about LSH’s rating and technique, but I wanted to point out that the admins definitely take into account more than just how wide people support 🙂

      Liked by 1 person

    1. All the complaints are from one person, you. This analysis is 2,700 words long. It’s one of my longest and it’s pretty specific. It’s not a matter of being specific, it’s a matter of not hearing the same things or in the same way.

      Liked by 3 people

  17. Sorry I can’t take this person seriously.

    “Honestly, guys on this blog are rated a lot more leniently than females. Is it because they look good? I don’t know. I’m not going to make that claim, but I could see how someone could feel that way. ”

    Reading that made me literally laugh out loud. It’s like what’s even the point of saying that if you claim to “don’t know” but I’m going to surmise the reason for this possibility I brought up anyways. Then you distance yourself from you just said even though you really can’t and say that “I could see how someone would feel that way”. Comedy gold.

    Liked by 4 people

    1. So, basically, you have no argument. Okay. I knew it already, but okay. I asked you to respond to the points I made. You can’t. You’re probably waiting on Ahmin to say something about it so that you actually have an opinion and some talking points. It’s fine. Right now you have nothing.

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      1. I wasn’t planning on commenting anymore, but I saw this one and I thought I should make one last response to defend the person you responded too. Don’t be so hasty with pointing fingers. You’ll end up pointing at the wrong person, and saying you made a mistake won’t be good enough. This applies to both the comment you left for MisterRollEyes and statements you made potentially questioning Ahmin’s professionalism.

        And you are right. I have no argument for your response. But, it is because I don’t really comprehend any of the points and justifications you are making.

        It has been interesting conversing with you.

        Liked by 2 people

    2. My mistake. I’ve just realized you aren’t the same person. lol The point still remains, however. Unless you can combat any of the points I made, why post?
      As for the claim, I distance myself because I don’t believe it necessarily, though I do think it has a surface plausibility. So I’m merely mentioning it to keep everything on the table. It is true, though, that from what I’ve seen that males are graded less harshly, but that probably has more to do with an inability to hear male voices with the same precision.
      What’s really comedic gold is that out of that whole post you chose to latch onto something so inconsequential.

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      1. I have two questions to ask you since you seem to be dismissing others’ opinions:

        1. “Unless you can combat any of the points I made, why post?”
        -Last time I checked, this was a blog free to anybody who want to ask/answer questions unconditionally. You sound really authoritarian and almost dictatorial by making that claim. Isn’t everybody entitled to their own opinion, hence the reason why Ahmin has responded to posters like yourself in a civil manner?

        2. “What’s really comedic gold is that out of that whole post you chose to latch onto something so inconsequential”
        -Again, what you deem inconsequential may be comically hilarious to others and that is their opinion(and I actually disagree your claim of male vocalists being graded more generously is due to their appearances). If it is so inconsequential and insignificant, why did you even mention it in the first place? I feel like someone is trying to backtrack and moonwalk out of it like Michael Jackson (God rest his soul).

        Liked by 2 people

      2. 1. I never said the person did not have a right to post. That is a completely different issue. I was simply stating that it’s really petty to post a snarky comment instead of replying to the actual points. Of course, the poster had every right to do so. It just doesn’t make sense to me personally, and that’s my opinion. You are conflating two different issues, namely: the user’s right to post and the overall uselessness of the post. See the difference? I’m not trying to be authoritarian at all. lol
        2. I mean that it’s inconsequential in the long run. It contributes nothing to the discussion. And I never made the claim. I said it has a surface plausibility, and I mentioned it almost in passing. I don’t “moonwalk” out of my claims. If I’m wrong, I’ll admit it. I simply said that I can see how people would think that (because I’ve seen people make the claim before).
        I’d like to take this moment to show you how faulty your logic is. You jump on me for saying “why post” and then ask me “why mention it?”. lol So it’s okay for you to posit conditionals, but when I do it I’m “authoritarian.” Nice. In any case, I mentioned it only because one would think that if they saw vocalists like Kyuhyun and Sandeul and Jeong Dong Ha listed as great (despite clear issues of development, especially in the upper range). I personally don’t believe it to be the case, but I can understand why several users have posted that here. That’s all there is to it.

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      3. I’m sorry but I have to say something because I’m slightly offended and amused. You honestly wanna say you didn’t make the claim when you were the first person to even bring that up? I mean, people call us biased cause so and so is rated higher than whoever so they say we are biased but to go as far as to bring looks into this? I actually would argue that we were harder on guys than on girls at one point when we just started. Many times I would think “I feel like A4 for a tenor is kinda harder than D5 for a soprano” but.. I think the reason I’m actually more offended by this isn’t just the fact you’re questioning our ability to remain impartial, but I feel like you’re making an assumption based on my sexuality and that’s crossing the line there. I was ignoring this argument because honestly, I’ve agreed to disagree cause we don’t hear the same things but that comment had a bit of a homophobic undertone to it and was beyond the hearing ability. Please stop this argument that’s going nowhere and I ask that you think carefully about things you write cause to make assumptions based on looks questions not only our professionalism but also our sexuality and that’s just not okay.

        Liked by 1 person

      4. Yeah, because if you read I said I don’t personally believe it. That’s not making the claim; that’s bringing it up. I think you know the difference. lol
        And I am not attacking your sexuality at all. That was seriously the furthest thing from my mind when I wrote the comment. I can guarantee that it wasn’t an attack on your sexuality at all. And I’d like to say it’s not me making assumptions about your sexuality or your professionalism. I made a passing comment that crossed my mind, and you took that and ran with it and called me homophobic. I in no way meant to question your professionalism, though I can understand that’s how my words came across. But I don’t accept you bringing my character into the discussion by suggesting that I have something against LGBT individuals. I’m a man, my twin’s a man, and his fiancee is a man, so I’m totally cool with LGBT people. This “undertone” of homophobia is in your head. I know it can be a tough world out there for minorities. I live in Georgia, the DEEP SOUTH–it’s not all peaches and cream here for LGBT people like it is in California–and I’ve seen first-hand violence towards gay people. I’ve seen people take beatings for it. So to suggest that I somehow participate in that bigotry, that to me is crossing the line. I have said several times that it’s not my claim, just that it has superficial plausibility. There’s nothing more to it than that. If you want to read some imaginary offense into that, that’s on you. I’m not responsible for the way you feel or how you perceive things. But that’s not what I meant. And none of this has any relevance to the major claims I made. Honestly, if I had known THIS is what everyone would respond to, I wouldn’t have included it in my comment. But I think it became an easy way for other people to ignore my comment because they don’t know how to respond to any of the salient information.
        As to the leniency, I’m not the only one who has brought this up. I remember months ago someone brought up the issue in the thread in regards to Park Hyo Shin. I’m just honestly confused how you don’t hear the excessive tension in the male vocalists you have ranked so highly. Even the best of them have severe issues in their upper registers (including Dong Ha). I told you months ago that I don’t hear the same degree of support in many of Sandeul’s notes, but he’s not even problematic in comparison to vocalists like Kyuhyun. What I mean is, Lee Sun Hee’s mixed notes from C5-D#5 are largely better and have less tension than Kyuhyun G4 and up. That’s all I was getting at.
        And by the way, just because I’m thinking of it, it’s not even homophobic to make that claim. Set aside for a second that I didn’t make it, but how in the world is it homophobic to suggest that a person might be more lenient towards people he’s attracted to? If you were straight and I made the claim that females were over-ranked, would that be offensive, too? Stop reaching. I honestly came here just to see what you were talking about on YouTube, and I saw the heated discussions about my video, and I wanted to clarify things. I didn’t even make any new claims. It was meant to be a conciliatory message, but I STILL ended up getting snarky messages from people whom I don’t believe can even back up what they are saying. I know where we disagree, and I’ve never had an issue with you, but all your followers who simply parrot what you say and then use it in a condescending way are the ones who bother me. There’s nothing wrong with me for saying that if they are gonna be aggressive towards me, at least back up what they are saying. And I’m not out of line for suggesting that some of these vocalists are ranked too highly. They simply are. You’ve accused me of being too lenient towards vocalists, but if you consider Kyuhyun to be almost “great,” you are the one who has a problem with leniency. I honestly think we agree most of the time on females.
        But okay, we don’t have to discuss this any further. It’s clear that the discussion is going nowhere. You have your opinions, your ranking system, and full control over it. So rank how you like. Unless someone posts something major here, I don’t intend to come back because it’s almost impossible to have a real conversation here about anything. I’m not directing that towards you because I’ve personally had many great and enlightening conversations with you. But I know where we disagree, so there’s no point in talking about it further.

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      5. Yeah but nobody really ever brought that up before, you’re the first person I’ve ever heard “bringing it up.” I apologize for that, and I appreciate the situation but still I hope you understand how it could be interpreted that way. Well it’s just kind of saying cause I’m not straight, that I can’t judge a male vocalist without being distracted by their looks which isn’t very nice now, is it? Do you see how that can come across wrong?

        Yes I know where we disagree which is why I didn’t respond but I also know this is a place for discussion so I can’t stop neither you nor the other commenters from engaging in discussions that I choose to stay away from. I don’t disagree about the parrot comment but the looks comment did rub me off the wrong way cause I’ve never heard that one before you said it. Do you see how?

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      6. I can see how you mistook my comment. I honestly didn’t mean it that way. I don’t remember who it was, but someone in the thread posted one time that many of Park Hyo Shin’s upper notes wouldn’t fly by you if Park Hyo Shin were a woman. And you said something like “What are you talking about? I said he’s got tension in his upper register past blabla” and dismissed that person’s claim. And I saw another poster say that the good-looking people were ranked highly, and someone else said they were stupid for insinuating that. lol So I’m not the first to bring it up, and no, I don’t believe you are somehow blinded by the male physique to the extent that you can’t objectively write a review. I am confused, though, how you can’t hear some of the tension issues I so clearly hear in these male vocalists because you seem to have quite an ear for tension (for the same issues) in females. I’m not suggesting anything by that; it’s just an observation.
        That being said, I appreciate you hearing me out. I really don’t think I will come back here, though. Of course, I don’t agree with the ranking (but that doesn’t mean I don’t agree with the analysis, if that makes any sense) because I do think you discount her mixed range (I honestly don’t know why), but we’ll have to leave it at that. At least people know there are two sides to the issue. But if I post here, I’m made out to be some type of loony, even when what I say has merit. Even if you disagree with me, at least tell me why you think I’m wrong. I mean, instead of just pulling up Kyuhyun’s analysis and saying “Well, Ahmin said he does this… so you are automatically wrong and I’m gonna grab my popcorn and laugh at everything you say” at least tell me something of value. These people can’t tell me why they think Lee Sun Hee’s D5s in 겨울애상 are strained and unsupported (despite actually being resonant in several performances since 1998); they simply say “Oh, D5? She screams it.” This isn’t even intellectual. It’s immature. Now I know you are not responsible for what these people say or do, but it does get tiring when you live on the “outside.” But I guess that’s because people who are interested in this niche (Korean music) are generally younger and less mature (like I was when I first started). But at least I always tried to hear with my own ears. I can look back now and say “Oh, I was so wrong about this,” and sometimes it’s even embarrassing how wrong I was, but I am happy that some of the things I heard then were right, even I didn’t really understand why in the beginning. I guess what I’m trying to say is, maybe I expected too much from the thread and this blog in thinking that it could be a place of pure academic discussion. It is the Internet, after all. lol
        Take care.

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      7. Oh no I know who and what that’s about but I don’t think it was to do with looks but to do with actual singing in itself. The good looking thing wasn’t talking about guys alone, that was guys and girls which is just funny cause it’s like saying good looking people can’t just sing well or not good looking ppl must automatically be better vocalists. Well I could say the same about you and how I’m confused that you don’t hear the tension I hear in vocalists you’ve talked about before too. So yknow we just don’t hear things the same way and that’s that. It is the internet indeed.

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      8. Hi friends, both Ahmin (happy b-day honey!!!!) and this clarification friend. If this person comes back to read here, I want to leave a positive and enlightening comment for this friend. To Clarification:

        Point 1:When we write stuff in text form, there is a large margin for misinterpretation because we can’t see the other person’s face. Based on the words, we have to feel an overall vibe from what we read. Honestly, at certain points you came off as mean and condescending (but I can see how other commenters incited you into that behavior/responses), but that’s my interpretation because I’ll never know for sure until I talk to you face to face,you know? Like I write stuff sometimes, and I think “this might sound mean, I have to phrase it differently.” The same applies to the ”guy’s looks” comment. I think that could have been avoided if you phrased it differently like “some people say he rates guys better on looks, but I don’t believe that.” This is just food for thought.

        Point 2: I actually listened to the parts on the analysis where LSH sings C5-Eb5. I can definitely agree and disagree with you, friend. I hear full support on C5, but she sings like me when I try to sound very chesty. But the problem with this much chestiness is the pushing that comes with it. So I definitely hear a lot of that for her on C5 and C#5, but the support is still strong. I hear partial support on D5 and and even less on D#5. If I had to put percentages on it. I’d say C5,C#5 (100%,70%) and D5/D#5 (50%, 30%). I hear her D5s as somewhat supported when not sustained too much, but that throaty aspect is always there and it’s on full blast if she’s sustaining it, but I definitely feel like I hear partial support. I give her 30% on D#5s if they are brief and phrased, but the throat tension is much more present for me because I feel this unrelaxed quality. The briefer the D#5s for her, the better they sound. There is support there but the tension is overtaking her. Additionally, Sometimes I think her larynx is raising. One thing is for sure, her chest development is stellar in her mix. Those muscles are very strong. For me, that is my overall opinion. If you hear different things, we can agree to disagree, that’s fine. But I definitely didn’t disregard what you said because I addressed it, and you can see we have some points in common. I just don’t want you to feel like you can’t have an academic discussion. I guess I don’t want you to feel like you simply can’t be understood. Deep down, I believe people can always understand each other.

        Point 3: I definitely get what you mean on depth of support, but I’m sure that although LSH is Above Average in ranking, her support can be cleaner than many of her counterparts in the same category. Because of popular demand, Ahmin made a ranking system with the other admins because people often compared so and so within the same categories. In other words, she can share the category, but she could be in the top 3 for it or something like that.

        Point 4: I kindly and humbly disagree on some other things that I will address briefly. I feel like we hear different things for Kyuhyun. But my main point here is not that. For me personally, you are right on some things. I think his support in the Bb4-C5 range isn’t nearly as strong as his D4-A4 range. However, that’s normal because tenors start getting heady in the Bb4-C5 range and, the more important reason, he is still developing it. This the fundamental reason why he is Good to Great and not higher. Somebody once asked that question to an admin. ”Why is Kyu not on the same level as Na-ul when the difference in supported range is small?” Simple, Na-ul has much stronger muscles than Kyu in the Bb4-C5 range. Kyuhyun needs to keep strengthening those muscles. However, Kyuhyun can still support those Bb4-C5 notes, so I definitely wouldn’t call that basic support. The muscles just need to be stronger. As you can see, the analyst took the depth of his support into account because Kyu isn’t higher than Good to Great, but he is partly great because he has developed a base of support in the Bb4-C5 (aside from overall technique). If you hear different things, it’s fine to disagree.

        Final Words: So wow! That was long. haha. I hope you read this someday and think: ”Nice to have a different but developed opinion” or something like that. More than that, I hope that you can take something positive from the things I wrote to you, and I hope these words reach you with the best of intentions. 🙂

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      9. Thank you for your pleasant comment!

        Yes, well, to be honest, I was being purposely aggressive in my replies because I was/am tired of people writing snooty replies and not addressing the real issues. But I definitely see what you are saying.
        Did you listen to the links Ahmin included in the analysis? Because I agree with you about those links. She generally does sing in a very chesty style that doesn’t produce as much resonance or even facilitate as much support. So I would agree with you about that. Of course, I think this is okay because it was her training, and in 1980s Korea, this WAS vocal training, so it’s a contextual issue. But setting that aside, I believe she mixes nicely until D#5 when she wants to, and she’s had this ability for years. That is why I put those notes in my video. Here’s the link:

        Start around 6:15, and you will see twelve mixed notes C#5 to D5 that are all supported very well, many of them (including all the C#5s and a majority of the D5s) with resonance. The D#5s I included are supported as well (the “We’ve Got Tonight” ones to a lesser degree because it was early in her career). As for the mixed D#5s, they aren’t resonant, and she’s singing a difficult vowel on almost all of them, but they are supported, and nicely mixed, especially considering the fact that she supposedly doesn’t support here at all. This is a sample I put together of her mixed range (not belted notes), and you can hear that they are supported, largely resonant, and varied. She even balances a few of her D5s and is able to hit them with a chestier mix, as well. Take that with the fact that she’s able to “belt” them in her original style according to the guidelines of that style, and she’s a very well-disciplined singer. Above average vocalists don’t have this type of precision.

        Point three I simply disagree with because you can put her next to the people in her category, and she has better technique and control. She also produces resonance more often in her supported range.

        Point four I agree and disagree with. Yes, I agree that he tends to get headier and that a large portion of his notes have some support, but it doesn’t really matter to me when they are supported with heavy degrees of tension. Many are off-pitch with a forced vibrato. All of this is evident in his range video, and in the videos I searched through just to get a feel of him, I heard it immediately. So my real point is: why are vocalists who have shoddy support like Kyuhyun considered better just because they support higher and a larger range? It’s not an attack on Kyuhyun or anyone else, especially considering how young he appears to be. But it is saying that it’s weird to me that Kyuhyun, who may support a wide range/attempt a healthy technique in that range, is rated above someone who has much greater development in a smaller (but still decent) range. By my estimates, Lee Sun Hee has a supported range of G3-D#5, but her degree of support and the amount of clarity, freedom, control, and the diversity of her technique in this range are greater than Kyuhyun’s. So he gets his top three bottom and top notes better? Okay, but she does everything else better. That’s what I’m saying. The ranking system here is misleading.

        Final point: thank you for your very kind debate. I understand where you are coming from, and I agree with some things.I still think this is a misleading ranking system, but I don’t think it’s completely without merit.

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      10. I think people were upset because you were dissing other vocalists to make LSH look better. AkMu’s Suhyun can support from A3 to F5, about the same as LSH, but she is Average. Most Weak vocalists have the supported range of Average vocalists, but they’re graded off the way they support, not how wide their supported range is. Look at Lena Park, she has over 3 octaves of support, wider than Sohyang’s. But Lena Park has the tendency to get throaty within her supported range. Speaking of Sohyang, yes she is “sick,” she has cancer and it’s been pretty bad lately. (Yes she is pitchy when she’s not sick) She even said that she was thinking about quitting singing on Masked Singer. You think that LSH should be ranked higher because she does way better in her supported range than other Above Average vocalists, right? There’s no need for you to bring other singers down to prove your point. There’s also no need to accuse the admins of this site of being biased because they didn’t rank your fave where you want her.

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      11. I think you have misunderstood me. I wasn’t “bringing other vocalists down,” but in order to prove my point, I have to use examples. I have nothing against those vocalists, and I even like some of them. 🙂
        My claim isn’t that a wide supported range is the only criteria for a high ranking. I’m just saying it is given more weight than great development in a smaller supported range, and that’s true.
        As for Sohyang’s cancer sickness, I hope she gets better, and I’m sure that affects her health at times. I don’t think it’s the source of all her problems since debut, but I’m sure it’s a factor. Maybe a good long rest is what she needs.

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      12. Thank you for your comment and video!!! I wanted for you to have a nice conversation with no one attacking you and stuff. I wrote some things about the video I want to share.from 6:15 after. I didn’t address resonance in the following portion of my mini-analysis because I know she can produce it.

        The first two C#5s feel supported to me, some tension from the glottal + larynx vibrato. The D5s are very well supported for me up to 7:00, the one after is high larynx for me and the fifth one has glottal tension. There was one with bad audio so I can’t say for sure. After that, the phrased ones are awesome. The 8:02 one I am suspicious about, sounds like there is something off because of the ”ka” syllable which pushes air, but I give her support for it despite the push. From 8:29-45, the glottal tension/larynx vibrato whatever it was is severely messing with her D5, the first has enough support despite the tension, the second she is trying to keep sustaining the note and the tension is winning. The first D#5 is high larynx fo me, the second one is better with vowel problems like you said. The first “here we are one” is supported, the one after was all high larynx for me, the second “here we are one” one is supported for me too. The early mixed one was just tense and pushed. The second one after was a little tense for me but I give her support. The third after was too tense and pushed and maybe high larynx. The rest were high larynx from 10:45 to 11:02 but the third and fourth one in that time frame, for me, were supported.

        All in all, thanks for this video. You said that context is important, and to a certain extent I agree. Because she is singing with a different style, the clarity of the notes improved. For me personally, the D5s feel like they need a little more muscle strength. Just a little more though. I can easily give her a supported top end of C#5/D5 with support on some D#5s if they are brief or D5/D#5 range for her. Her D5s honestly remind me of Kyu’s early Bb4s, both fledge ling notes. So yeah, I’m glad you found those clips. She’s better than I knew.

        Point 3 and 4, just remember the category names are just names. The criteria are more important. P.S. You should also know that Kyu vocal range video is dated. In his early Suju years, the dude had at best a top mix supported range of G4/G#4 or G#4/A4, and that video had too much of those years. That’s why you hear bad A4s. But there are some good ones too.

        Yeah, thanks for the comment. I wanted for you to have a normal and nice debate. And we did, so yay!!! Thanks for enlightening me about LSH. It will always be okay if we disagree and hear different things. At the end of the day, we want the best for these vocalists.

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      13. For the C#5s, I’m hearing a large amount of freedom and even a bit of resonance. Maybe not perfectly executed, but then again, that’s my issue with this blog. lol Most of Kyuhyun’s upper notes and even Park Hyo Shin/Dong Ha’s have some type of tension, but they are still supported, so it’s fair to use them.
        I agree with the D5s, mostly. There’s one mixed D5 that’s not as good, definitely a lot of tension. The other ones you have a problem with are not so much “mixed” as they are “belted,” but they still have support. The lightly-mixed “가” one is going to be slightly pushed because it’s chestier. But there’s a clarity to it that is indicative of the freedom behind the note, and again, it’s much freer than some other notes that are counted in other vocalist’s supported ranges. The musical one I’m hearing about the same thing. They are nicely done to me, definitely supported, though perhaps not perfect. The important point is: they are largely supported. D#5 I would tend to agree. Her mixed ones are pushed in this range, but not unsupported. And many of them are on difficult vowels, and I’m not hearing no support. But you might be right that the tension outweighs the support. So really it’s a mixed bag. I’m hearing the ability to support throughout this range, not perfectly, but again, I’ve never stated that she’s got a great mix. She does support in her mix pretty well until D5, however, and can bring that support to D#5, which I think is important. It doesn’t matter that the notes are imperfect because most vocalists here have largely imperfect notes (with the exception of Sohyang, perhaps). So again, if we are talking about “supported” range (not resonant range or some other weird criteria), she DOES support in this range the majority of the time she attempts to sing in it.

        As for Kyuhyun’s range, the videos Ahmin used in his analysis were from around the same time period, so I don’t think there’s too much of a problem in me using that. I pulled the recent-looking ones from his range video (made in 2015) and pulled the relevant ones from Ahmin’s analysis as well. In any case, I can hear the same issues even as late as 2017. So I still think he is ranked too highly. I will bring up Jo Hang Jo again because I think he’s worth mentioning. He only supports until A4/A#4 in his mix (he’s never gone higher, as far as I know), but his whole mixed register is much more developed than Kyuhyun’s. When I think of a male with a largely tension-free and very resonant mix, I think of him. I feel like Kyuhyun’s rating is too high because he isn’t producing that level of resonance in his mix because many (most, actually) of his notes are still tense. And again, that’s okay, like I said, the only vocalist on this blog who has a truly stellar mix is Sohyang; it’s just that his ranking of almost “great” is baffling considering the lack of development his voice has overall. That’s the reason I say I would put LSH at maybe good? on this blog. I recognize her mixing technique is imperfect, but I can also hear a great level of development G3 and up that balances this out. Kyuhyun doesn’t have that same development in terms of dynamics, depth of resonance, etc. so when he’s put almost at “great,” it really feels like it’s because he manages to maintain support throughout a wider range (even if the support is frequently clogged by tension). But again, I don’t have too much a problem with the ranking because I’m probably leaving here after this, anyway. lol

        Thank you again for your kind response! I’m happy that I was actually able to debate the issues and that you took the time to point out the individual notes and explain your position. I think it’s not only good for us, but also for the people who read this to be able to see thoughtful discussion from both sides.

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  18. Oh, my. The way people are coming at you Ahmin, I’d have thought you rated her weak and said she should light herself on fire, had I not read the analysis myself first. I really hope conversations like this don’t diminish your desire to write more informative analyses like this. Some of us actually do appreciate the fact that you guys take the time to do this, especially considering you don’t really make anything off of it.

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  19. good job ahmin and company. i know nothing about music, i just like to listen. am not knowledgeable on the topic as much as you or the people who comment, are. i lend a lot of credit to your analyses and responses to comments, however. because, ahmin and company – you argue your points not just with facts, but also argue while remaining respectful and not loosely throwing “spiteful” words, as some do, whether intentional or not. admirable. keep it up!

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  20. Mezzo-soprano’s tessitura is actaually from A3 – A5. And I also see you writing that her vocal range is D3 – A5, even lower than the standard range of Mezzo. And I also see you writing that she is a soprano. And I also see you writing that she places her sound a bit too low sometimes. That is incorrect. She is definitely a mezzo. Well, while some mezzos can sound lower than A3, even cab sound F3 and over B5, even can sound C6. She can sing in D3, in your own vocal range analysis, she would be Contralto (F3 – F5) rather than ridiculous soprano.

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    1. Vocal range has nothing to do with being a soprano or mezzo soprano. You’ve admitted that you’re not a vocal major so I understand why you’d be confused but vocal range means nothing because as you see, Ann (앤) is a real mezzo soprano and her vocal range extends up to E6. Being a mezzo or contralto or soprano isn’t to do with the range but instead with the range in which the voice best shines in with proper training. Ann compared to Lee Sunhee has a much heavier voice and her voice starts shining much lower. Around G4 Ann is already belting with more weight because her voice is heavier, but Lee Sunhee doesn’t need to be in as much effort because her voice is naturally higher and lighter. So no, she is not a mezzo and if you read the first 3 paragraphs of the analysis you’ll understand why. Contralto? Really? A contralto is a rare female voice type, again don’t use vocal range from wikipedia to tell you what her voice type is. A contralto has a heavy manly androgynous sounding voice. It’s a rare voice type for females:

      Can you hear how heavy and manly her voice is? This is a true contralto, it’s not to do with her “vocal range” or if she can hit a D3 or not. SNSD’s Jessica can hit D3, BoA can hit D3, Lena Park can hit C#3, are you going to tell me they’re all contraltos too? Please be careful with your research instead of calling her being a soprano ridiculous because that only exposes how limited your understanding of voice types is. Even the author of the video that you linked knows she’s a soprano too, I don’t know why you are holding on so tight to her being a mezzo or even throwing that she could be a contralto.

      Before when you said you weren’t in a music related job and couldn’t hear strain and stuff like that, I could be understanding. But using Wikipedia as a source for voice types? Saying she could be a contralto because she can hit D3? You even said tessitura, do you know what that means? Tessitura means the range in which the voice shines and performs the best but that range you provided is a classical vocal range for a classically trained vocalist. Do you know how classical training works? They use mixed voice by mostly bringing the head voice down and blending it with the chest voice to create no breaks between head and chest voice and then classically trained sopranos and mezzos generally sing with mostly head voice throughout the fifth to sixth octave.

      That range you provided is for roles or songs but many mezzos go much higher than that. They use head voice and actually Lee Sunhee does the opposite. She pulls her chest voice higher which is completely the opposite of how a classical singer sings. Because she neglected developing her head voice more, we don’t know how high she can actually go but if you hear her A5, she can definitely go higher, she just hasn’t shown us. A5 is not her highest note, it’s just the highest she’s ever gone on a video or studio recording. I can’t know her absolute highest note unless I sit down with her in front of a piano. And do we need to know? Not necessarily cause she can’t support that high with her head voice anyway so even if she can hit F6, if A5 ~ F6 is all strained, it wouldn’t make a difference for her analysis.

      So please I understand you not hearing vocal strain and I can explain that to you in a polite manner…한국말 할때면 정말 공손하게 말 할 수 있는데 왜 갑자기 영어할때 매너없이 말하세요? Ridiculous라고 하면 어떻게 respectful하게 말하는거예요? Don’t use Wikipedia or poorly done research to argue about her voice type. Voice type has to do with passaggi, the notes in which a vocalist’s voice naturally needs to change in order to keep going higher, a transition from chest to mix and from mix to head, that is the main method to find out someone’s voice type, not their vocal range. So no, she’s not a mezzo nor a contralto cause literally every soprano on this blog can at least hit F3, many can hit D3 and even C3, but that doesn’t make them anything but what they are, sopranos because they’re not classical singers so the ranges on Wikipedia won’t work for them.

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    2. Where are you getting that information? If it’s from Wikipedia I’m pretty sure that is in regards to classical/opera singing which is vastly different.

      Are you being sarcastic? Because I honestly can’t tell until the very end where you mention that her possibility of being a soprano is “ridiculous” but a contralto isn’t a ridiculous possibility?

      There is more than just tessitura in regards to vocal classification even moreso in classifying singers in contemporary styles. Things like timbre, tessitura, and size/color of voice affects their classification.

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    3. Maybe it won’t help much just showing you examples of sopranos and contraltos who are singing in different styles. I used to think Lee Sun Hee was a mezzo, too, but if you compare her to vocalists who sing her style, you will easily see it’s not the case. Here’s an example.

      This is Mahalia Jackson, a mezzo soprano who was active in the early 20th century. She uses a technique very similar to what Lee Sun Hee was trained in. You can hear her lower her larynx and use heavy chest placement. This results in a very large resonance (up until about B4), but the downfall to the style is that it pretty much means notes in the fifth octave are going to sound rough or even be strained. But the important point is this: she is a mezzo who sings in Lee Sun hee’s style.

      Here is Lee Sun Hee performing the same song. It’s the first 2:05 of the video. She is executing the same technique. What I mean is that she is also lowering her larynx in order to create a larger space for her projection and is also using heavy chest sounds. This is why she sounds like a “blast furnace” as you put it. Yes, there is a resonance to this, but that resonance thins as the voice goes higher because chest is very limited. But can you hear how she’s not a mezzo? When you compare her to mezzos who sing in the same style, you can hear that her voice is clearly higher and not as “earthy.”

      The reason she sounds like a mezzo is because chest sounds are darker by nature. Most sopranos don’t train their voices in this manner, but this style of training was very popular in Korea in the 1980s. And you should know that her being a soprano doesn’t make her any worse of a vocalist, and her being a mezzo doesn’t make her any better. All that matters is the depth of her support and her technical execution, which is fantastic in a limited range but is not very good at all outside of that range. I don’t think anyone is denying her ability within her highly-trained range; they are simply pointing out that above a certain point (maybe C#5/D5) and below a certain point (I’d say G3) her voice isn’t developed to the amount that it could be. Part of this is a product of her antiquated training, but part of it is not.

      I hope you can see what I am saying. I also really adore Lee Sun Hee, but I can recognize her shortcomings. She is still a good vocalist, and she is not so old yet that she can’t adapt her singing style. I noticed that at her recent 2016/2017 concerts, she was mixing a lot more, so perhaps she is now thinking long term in terms of her vocal health. I was blessed to be able to go to her 부산 콘서트 in 2014, and I can remember she told us that she was thinking about retiring because her voice wasn’t as strong as it used to be. Even compared to her 2014 concert, her 2017 concert is much healthier in terms of her approach (mixing notes where she used to blast her chest) and overall singing lighter (though still keeping her style in signature songs). This is probably because of her age and the less healthy nature of chest voice singing. My point is that she has changed her styles several times through the years and seems to be doing so again (at least on a minor scale), so who knows what the future will bring? But until then, I think it’s important that we just enjoy her and recognize her for who she is: a great student of an antiquated style who has proficient mixing ability as well.

      And as a last note, you can learn a lot by reading the vocal analysis here. I don’t agree with some things (that she has little Western influence or that she doesn’t rearrange her songs much), but the actual analysis of the individual notes is nice and can help you to train your ears. The real issue with the analysis is that it seems to be largely stuck on one aspect of her vocal style and not her overall development. But again, that’s why I made my video, so that people can see two sides. I hope you can consider what I’m saying and what Ahmin is saying and view this with some perspective.

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      1. Thank you for putting more voice type context. This kind of comment is annoying me because questioning our credibility because you can’t hear strain that’s there? That’s an understandable issue. Now questioning voice typing done by professionals based on some Wikipedia article you read? Now then I take offense.

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  21. Please watch and feel the depth of her resonance and support in her singing. I really don’t wanna believe how closed your ears are !!!

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    1. Up to C#5, her resonance is large because she’s chesty and that is addressed in her analysis. Please just wait for me to respond to your comments in Korean because when you write in Korean, for some reason you’re quite polite and calm, but in English you come off a bit rude and that doesn’t help the discussions here so please wait. I should have time tonight to respond.

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  22. As you said like you cannkt fluently speak Korean, I’m too. I cannot express the exact feeling, so you can feel like that. 뭔가 풍기는 뉘앙스가 다른 겁니다. 그러한 뉘앙스를 전하려고 했는데, 모국어가 아니면 그러한 뉘앙스를 잘 전달하기가 어렵네요. Anyway, waiting for your opinion that would you like to respond my long long comment, and therefore anlayze her more in more specific view. Not just in comtemporary 그러니까 실용음악과나 실음과 출신 보컬 트레이너들이 좋아하는 발성 위주의 평가가 되어 있는 것 같다는 겁니다. 현대의 발성과 옛날의 발성, 특히 대한민국에서 현대와 1970-80년대의 발성은 많은 차이가 있을 수 밖에 없는데, 이 블로그는 너무나도 현대의 발성 위주의, 현대 보컬 중점의 평가가 이루어지는 것 같습니다. Whitney houston also uses belting notes throughout her entire singing, and her vocal rangeis not so wide: that makes her supported range also narrow. But she is ‘the voice’ as her voice sounds like tidal wave. 그게 바로 resonance, 공명감이죠. 비록 음역대가 좁을지라도 그 공명감 하나로 (한국 사람들은 그러한 배음을 성량이 크다고 말하지만) 흑인 여가수 최초의 스윗하트가 된 것이잖아요. 이선희의 목소리도 그와 같습니다. 기본적인 발성은 진성, 그 중에서도 벨팅입니다. 뱃심으로 노래를 부르기에 성악 발성처럼 들리기도 하며, 소리가 밀도 있고 단단하게, 깨끗하고 강력하게 뻗어 나갑니다. 마치 휘트니 휴스턴의 소리처럼 소위 말하는 ‘꽉 찬 소리’가 난다는 것이죠. 매우 큰 성량 때문에 마이크를 뗄 때, 배 밑으로 내리는 것도 이에 기인합니다. 무엇보다도 그녀가 가진 가창력의 핵심은 특유의 음색과 그를 뒷받침하는 ”공명감”입니다. 음색은 한없이 맑고 막힘없이 쭉 뻗으면서도 소리는 깊은 배음이 울려서, 아주 두텁고 단단한 공명감이 곡 전체에 울립니다. 이렇기에 아무리 노래를 잘 하는 보컬리스트가 그녀의 노래를 불러도, 분명히 그녀의 공명감보다는 약하기 때문에 ‘뭔가 부족하다’고 느껴지는 것입니다. 마치 Whitney houston처럼 말이죠. 그녀가 그녀의 legacy 만으로 nation’s diva의, nation’s singer의 칭호를 받는다고요? 아니오. 천만에 말씀 만만에 콩떡입니다. 그녀는 인기보다 가창력으로 더 인정받는 가수입니다. 한국에서 소향보다 높은 평가를 받는 것은 단순히 짬밥 우대 차원이 아니라, 그만큼 고음역대가 단단하게 뻗어 나가면서 울림을 주는 그런 목소리가 있었고, 그러한 목소리를 대한민국 국민들이 듣고 좋아했기에 그런 것입니다. Whitney houston과 같은 목소리, 그러한 공명감(한국 사람들에게는 성량) 하나로 한국 전문가들이 뽑은 노래 잘하는 여가수 1위, 남녀 통틀어 절창 4위에 오른 것입니다. And Mariah carey also uses chesty vocal growling in her singing often. 이선희의 chesty voice는 그토록 어려운 growling을 소화해 낸다고 볼 수 있어요. Chesty shouty voice is weakness, what are you talking about? 고음역에서 흉성을 사용하는 것은 쉽지 않습니다. 음은 올라갈수록 가슴으로부터 멀어지는 속성이 있는데, 흉성을 통한 고음 구사는 그래서 하면 할수록 어려운 것이죠. 이런 수준까지 도달하기 위해선 정말로 피나는 연습이 요구되는데, 이선희는 흉성으로 고음을 채우잖아요.

    Read if you can read Korean. Survey results. http://m.dcinside.com/view.php?id=baseball_new4&no=7501693

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    1. Well English isn’t mother tongue either but I understand. The thing and I know you wrote that in the long comment from last week, the issue here isn’t that she belts. We don’t have a problem with chest dominant mixed voices. The issue is we hear tension. Growling or even Mariah Carey or Whitney Houston belting with chesty mixes in the 90’s, up until at least F#5, they had resonance. They didn’t squeeze their throats, they didn’t let their larynxes raise, ultimately they didn’t strain. We don’t mind chesty mixing, if you do it without straining its fine but when Lee Sunhee sings, we hear strain above D5, unlike for Mariah or Whitney where they still kept their sound placed a bit higher and their throats open and still could sing without tension up to G5, from what I know. So you’re misunderstanding the shouty mix aspect of the analysis, we don’t mean that shouty = chesty, we mean that shouty = strained/tense.

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    2. 안녕하세요, 이 글을 계속 봐온 사람입니다. 제가 당신과 Ahmin이 현재 하고 있는 토론에서 key point를 간략하게 정리해서 말씀드릴게요. 이선희 씨의 발성법에서 문제가 된다는 건 흉성 위주의 mixed voice 사용이 아닙니다. 흉성 위주의 mixed voice를 사용한더라도 tension/strain (긴장성 무리/손상)없이 건강히 발성이 된다면 문제없습니다. Mariah Carey와 Whitney Houston 둘 다 Chesty Mix 를 사용하지만 바르게, 목에 무리가 가지 않게 3옥 솔 정도까지 문제 없이 노래를 할 수 있지만, 이선희 씨의 경우엔 3옥 레정도부터 목에 무리를 두어 소위 “생목”으로 shouting하는 것 처럼 들리기 때문에 성대 힘이나 발성법이 바르지 않는 것입니다. 그리고 시대적인 발성법과 창법들도 모두 다 결국에는 올바르게 하는 방법이 있습니다. 판소리, 벨팅, 등등 단순히 유명할때 유행했다는 이유로 건강하지 않은 technique을 쓰는 것은 좋은 선택이 아니고
      가수의 실력을 측청하는데 모두 고려돼죠.이선희 씨가 한국내에서는 평가가 높게 된 가수지만 하나 기억하셔야 할 것은 많은 한국의 “전문가”들이 가수들의 실력평가를 톤, 즉 음색 위주로 많이 합니다. 그러기 때문에 발성법, technique, 진정한 실력으로 불공평하게 과소평과 된 가수들도 많고, 어울리지 않게 과대평가 된 가수들도 상당합니다. 이선희 씨 팬인지 아닌지는 모르겠지만, 이선희 씨 명성이 있다하더라도 보컬 강사들이 객관적으로 평가한 사실은 받아들여야하지 않을까요?

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  23. (Sorry my English isn’t so good) This was an interesting read, though it would have been nicer if some comments weren’t so rude.

    (This isn’t addressed to anybody in specific, I’m not trying to start any drama) I understand people will be angry if they think their favourite artist is being unfairly judged, but why bring up others like Kyuhyun, Sohyang, DongHa, etc? Because this is SunHee’s analysis, they have nothing to do with her, and last time I checked, this site wasn’t made to pit singers against each other. And it seems like you’re doing to them what you claim Ahmin did to SunHee.

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  24. Ariana is rated by most other sites average to above average and and lee sun hee is average ??? 😨 the only analysis i dont agree with this blog in my opinion she deserves the above average mark but thats my subjective opinion of course

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