F2 ~ F5 (3 Octaves)
C3 ~ Bb3/B3
- Shown very clean improvement in falsetto transitions
- Despite pushed singing, can sing with relative volume control
- Improvement of overall control of his voice
- Able to sing with minimal support when singing naturally up to C#4
- Pitch is mostly clean
Points for Improvement
- Tends to favor style over technique, lacks flexibility of his voice
- Sings mostly with a pushed down larynx
- Above B3, he needs to push with air pressure and tension
- Unable to sing in his lower range with a clean supported chest voice
- Not shown a head voice
- Not shown consistently supported singing
- Unable to produce resonance
- Lower register: Most of the time spent in this range is for phrased notes, where he doesn’t really show the ability to sustain his sound with a clear nor developed chest voice quality in the second octave.
- Mixed register: His mixed range is where he spends most of his time. He sings with mostly a chest-dominant mix, generally pushed with a lowered larynx.
- Upper register: Has shown improvement in transitions and connection throughout the years, as well as pitch. Transitions within the fourth octave show a clearer quality, but mostly uses either an unsupported falsetto or a scream-like falsetto.
Jung Joonyoung’s main musical genre is mostly rock, which in its essence isn’t known for its melodic embellishments as much as it is for its intensity. Thus Jung Joonyoung never really had a reason to work exclusively on his vocal agility as vocal runs are generally not very common in rock and if present, aren’t meant to be too complex. There have been a few occasions in which he’s had to sing melismas during songs and it is possible to hear that he’s aware of each individual note, but there’s a lack of flexibility in his vocal cords when moving from one note to another. Flexibility and agility are generally easier for vocalists who not only have lighter voices, but sing lightly. Jung Joonyoung on the other hand tends to sing with a lot of weight in his voice, which makes moving quickly around pitches harder. Not only that, but also the amount of pushing and constriction present in his voice makes it so that he’s unable to maintain a smooth flexibility when singing runs, which results in mostly pitch accurate but often laggy and unclear vocal runs, as heard in “뭐라할까,” “박하사탕” and “슬픈 언약식.”
Jung Joonyoung was first introduced in the entertainment industry as a contestant on the popular survival TV show Super Star K season 4 alongside fellow contestant Roy Kim. Through that appearance he quickly rose to fame for his powerful rock vocals, as well as his kind of quirky personality, which ultimately landed him in the top 3 for that season. His voice is known for its thick and low qualities, coming from both his vocal habits as well as his naturally lower range. His voice type seems to be most that of a baritone, where his natural tessitura would naturally fall somewhere between the higher portion of the second octave of the piano (F2 ~ A2) up to the mid-upper fourth octave (F4 ~ A4). Currently he is the main vocalist of his band Drug Restaurant, formerly known as JJY Band.
Despite being known for the thickness and weight of his voice, he rarely ever sings very low. As a rock singer, he focuses most of his songs on belting on a range that is generally high for a baritone. For that reason, he often neglects singing in his lower. When he does however sing below C3, it is possible to hear a lack of development of his chest voice muscles as he descends in range. Although there’s a degree of chest voice used when singing in the second octave, most of the sound is produced by a shallow approach more closely associated with the vocal fry register. Thus creating a sound that’s often quite dark, but not as easily connected nor projected. He often loses connection between his modal register, namely his chest voice, and relies on the vocal fry to project his chest voice. All of this is done while also pushing his larynx with the back of his tongue, which creates more tension than support, causing him to often sound pushed and muffled in his lower range. Despite this, his vocal cords do remain mostly connected as he descends in range. Examples of his lower range can be heard with the A2’s in “먼지가 되어” as well as F2’s in “공감.”
His habit of lowering his larynx isn’t something part of his lower range alone. Unfortunately this habit is present throughout his whole modal register. As he’s not yet shown the ability to sing with a head voice, that seems to only include his chest and mixed voice thus far. The way to produce correct resonance in pop music while remaining supported and relaxed requires the throat to opened, while the airflow from the diaphragm hits the vocal cords with just enough pressure to create sound. This, along with proper placement, creates power. However many vocalists have the habit of overusing the throat muscles to create power, some do so by squeezing the throat and some others by pushing their larynxes down with tension from their tongues. This does create more volume and a thicker sound, but it’s not as natural and not as relaxed as a more neutral position in the larynx while keeping the throat opened.
The result of this is a sound that’s pushed, heavy and often unsupported. Jung Joonyoung’s case is no different. To an extent, pushing his larynx down while keeping the sound placed in the back of his throat seems to be partially stylistic. However the few times he’s shown a more neutral larynx approach while singing more lightly show that he has yet to develop the right amount of development in his vocal cords against a consistent airflow from his diaphragm to produce support. Examples of this include the range up to C#4 heard in “잊었니” and “I Love You.” The issue with this is that the sound is generally shallow as there is very little support being engaged when singing like this. This explains why his sound becomes thinner and weaker if he goes above C#4, such as the D4’s in “Remember.” Thus this would be why he chooses to sing with an unhealthy approach. In order to create more volume, often mistaken as power, he pushes the sound with a heavy chest voice and a throaty approach.
His mixed voice is generally chest-dominant and heavy, due to his low larynx position, the sound is rarely ever light. He doesn’t usually mix with much brightness, but he can coordinate his muscles extremely well despite the tension present in his vocal cords. He often sings as high as G4, or even A4, while sounding relatively controlled. This control is done with the help of tension and not support, which is not the most desirable nor healthiest way to sing. Examples of his belting range include the C#4’s in “슬픈 언약식,” his D4’s in “널 사랑하니까,” his E4’s in “천생연분,” “When the Sun Goes Down” and “내가 만일,” his F4’s in “공감” and “해석남녀,” his F#4’s in “여가,” “Princess” and “토요일은 밤이 좋아,” his G4’s in “풍문으로 들었소” and “너와 나,” his A4’s in “Creep” as well as “먼지가 되어.” Despite showing a relatively more relaxed approach up to C#4 at times, his consistency with support up until C#4 is quite questionable.
His upper register consists mostly of a falsetto, generally light and breathy. At times he’s able to produce a sound that’s less breath, but still there’s a huge contrast from when he uses his mix to when he uses his falsetto. His transitions have shown improvement, becoming much quicker and smoother over time, as heard when comparing performances such as “Creep” and “응급실” to more recent ones like “공감.” Another interesting quality he’s able to produce is a more scream-like falsetto, that’s not exactly a head voice but is somewhat more projected and connected than his usual falsetto. With his lighter falsetto he seems to peak mostly at around B4, but with his more pushed one, he is able to go into the fifth octave and sing as high as E5, as heard in “먼지가 되어” and “매일 매일 기다려,” as well as the F5 in “Outsider.” This register is a disconnected register where his larynx isn’t pushed down, but support is still not present. He often pushes with so much tension that his pitch is sharp as well.
Musically Rock music does not need to be unhealthy in terms of singing. There does not need to be tension in the throat in order to sing Rock music. There is a healthy way to do. Pushing greatly limits one’s vocal ability and range, as they tend to sing with only more volume as they get higher and are unable to control their volume output as well as their breath management when singing softly. Jung Joonyoung is an example of a self-taught rock singer who is a great composer and artist, but could use some work when it comes to his vocal technique. Many artists tend to skip over the basics of singing in order to focus on their own style, but it can be damaging to the voice to overwork the muscles on a daily basis with as much tension as he does. For the future, working on re-learning and establishing basic breath support could potentially help him become a more flexible vocalist if he chooses to go down a different route musically.
As previously discussed, Jung Joonyoung’s main genre of music is rock. With that in mind, he’s not one to sing songs outside of that genre. His main form of musicianship and artistry doesn’t lie solely on singing Rock songs, but also making songs that aren’t necessarily of that genre become more Rock in flavor. He knows what his main sound is and so he emphasizes strong thick and intense vocals onto his vocal performances. He may add melodic changes to songs, which are often in the form of more scream-like falsettos and louder powerful belts despite the tension present in his throat.
Label (Type of Vocalist)
S Vocalists: Stylistic Vocalists
Best Vocal Performance(s)
Analyzed by Ahmin (Kitsunemale)