E3 ~ A5 (2 Octaves, 2 notes and 1 semitone)
Bb3/B3 ~ Bb4
- Strongest vocalist in FIESTAR
- Support is present within her middle voice
- Mixed voice is generally bright and light, allowing ease
- Her placement is mostly high and in her mask
- Support is present in her lower range down to B3/Bb3
- Able to mix with support as high as Bb4
- Tongue tension when trying to add power to her voice
- Most issues happen due to lack of proper throat shaping
- Throat closes and sound becomes narrow as she sings higher
- Sloppy runs
- Inconsistent airflow for support
- Tends to be nasal when trying to place her sound forward
- Lacks a balanced development of her chest and head muscles in her mixed voice
- Her chest voice lacks development overall
- Can be quite pitchy at times
- Lower register: Noticeably the least developed area of her voice. Most of the time she shows little to no ability to properly project in this part of her voice, losing projection almost as soon as she descends into the third octave.
- Mixed register: Her middle voice possesses clean and consistent support throughout the fourth octave when singing with a controlled volume, but as soon as she hits the fifth octave, tension completely takes over. That same tension is often present in her mid range when singing with more volume as well.
- Upper register: Not a very well developed part of her voice, it seems as though she’s unable to fully connect into a head voice and often opts for a thinner and tighter falsetto. Her sound is often very soft, light and squeezed in this part of her voice, where she seems to lose freedom altogether.
Agility is the ability to sing many notes within one single vowel while staying in key, at the center of each individual pitch while singing each note carefully and precisely, separating them clearly while maintaining flow and accuracy. For a vocalist to do this, they often need very loose vocal cords, free of tension and a lot of flexibility, while maintaining sustainable air pressure against the vocal cords. Very advanced breath support isn’t always necessary, but the lighter one sings, the easier it is to move your voice quickly. In the case of FIESTAR’s Linzy, agility is something that’s lacking at this point in her singing. Unfortunately due to the fact that her throat often closes while she places her sound inward, with a lot of tongue tension, her vocal cords become numb and can’t move freely. This causes her runs to often came out quite sloppy, pitchy and more like undecided slides. Instead of each individual note being accurately sung, she moves through the idea of the notes she’s supposed to sing without ever really being at the center of pitch nor being flexible enough. Examples include the runs in “하나 더,” “I Believe,” and “Take Me Or Leave Me.”
Linzy originally trained under YG Entertainment, while almost becoming a 2NE1 member, before debuting in 2012 as the main vocalist of FIESTAR. As their main vocalist, she often receives the more challenging parts in songs and highlights throughout their repertoire. Although relatively unknown, she’s had a few chances to showcase her singing through shows like Duet Song Festival while also being cast in a few musicals over the years. Interestingly enough, although being the vocalist with the best technique in FIESTAR and having the official role of main vocalist, she was not the member who was chosen to represent FIESTAR on the competition TV show Girl Spirit. Instead their lead vocalist, Hyemi, was the one chosen despite having less advanced vocal technique.
The lower portion of her range is rarely explored within the group’s repertoire. She is mostly in charge of singing the higher parts of songs. So it is no surprise that this part of her range would logically be less developed as well. Her chest voice seems to lack any sort of proper development, as she sings with a very light and mixed-voice like quality even as she descends into the third octave. Being naturally a soprano, her voice doesn’t sit quite as low in the third octave but with proper development, she could definitely work on projecting and supporting lower than she does currently. Her sound quality down to C4, as heard in “All of Me,” and B3, as heard in “미장원에서,” is clear and supported, but there’s a lack of weight to her voice. This lack of weight comes from the lack of chest voice muscles being used and as she descends further into her range, her voice begins to lose volume, depth, color and projection. This results in low notes that are often foggy, quiet, as heard in “미장원에서.” She at times also needs the help of a strained low larynx to project slightly more. Examples of this include the G3’s and F3’s in “널 사랑해,” as well as the E3 in “Pyramid.”
Her mixed voice is where she finds most comfort. The middle part of range, from about C4 to Bb4 is where she projects with most ease while maintaining the best quality in her support. She’s able to manage air quite efficiently, while not straining her vocal cords nor throat to do so. When singing softly, she may at times narrow the placement of her voice to just her nose and become quite whiny but nevertheless remain relaxed. She often has shown that as long as she’s singing with a controlled amount of volume, she won’t have issues with vocal strain with that part of her voice. This can be heard with “Vista,” “너에게,” and “짠해.” However as soon as she has to sing with slightly more volume, she starts to engage muscles in her throat connected to her tongue and jaw that cause to sound more froggy and block the sound of her voice. This makes her sound stay more placed in the back of her throat as opposed to forward, which gives her more issues to project. This can be heard with the Bb4’s in “널 사랑해,” as well as B4’s in “2016 Good Time” and “Pyramid.” Despite showing relaxed singing up to Bb4, even when singing lightly tension can be heard with more tightness than support starting on B4, as heard in “미장원에서.”
This tension present in her mixed voice only becomes more apparent as she ascends in range, whether singing loudly or not. Even when singing around the fifth octave, around C#5, with not too much volume, one can still hear a tight throaty quality in her singing. This can be heard in “Vista” as well as “Mirror.” However because Linzy’s voice is so mixed throughout her range, the absence of weight and chest voice in her mix and the brightness of her voice allow her more ease in the upper range and mask away some of the strain. Nonetheless, strain is still present and her voice becomes pushed, blocked and lacking in freedom whenever phrasing or sustaining higher notes. This can be heard with the C5’s in “하나 더,” “Vista,” the C#5’s in “외로운 밤,” “Pyramid,” the Eb5’s in “I Believe,” “Stand,” the E5 in “Today,” and the F5 in “Take Me Or Leave Me.”
Her upper register is mostly consistent of a falsetto. She hasn’t truly shown the ability to sing in a head voice at any point during her career, or at least in her given repertoire. She often opts for a thinner sound with more air passing through, where true support is not possible. The lack of connection in her vocal cords causes her to have a very limited amount of volume in this register. Also as she gets higher, she tends to let her larynx raise and her throat close, so the sound becomes thinner and thinner. Up to about C5 or D5, it’s possible to hear that can sing with a more relaxed quality, as heard in “All Of Me” and “Pyramid,” but that unfortunately does not last long as she quickly sings with more tension from her throat muscles closing around her larynx. This can be heard with the E5’s in “TAKE five,” the F5’s in “그대와 영원히,” the F#5’s in “Something About Me,” and “Today,” as well as the G5 and A5 in “짠해 .”
For any vocalist, the most basic thing one needs is the ability to support. A vocalist who cannot support has not learned the first step for singing yet and is just going to have more issues as their career goes on. Fortunately for Linzy, that stage of her singing development is done. She has developed support, but possibly due to neglect, she has yet to grasp the concept of support when adding more dynamics to her voice. When singing, one more must be able to travel throughout their registers with freedom, allow the voice to be placed in each different resonator as they move throughout their range so as to create the best type of projection for each register. In Linzy’s case, she seems to often lose her pitch when attempting to sing with more volume due to tension in her throat, which causes her not to be able to place her sound in the right resonator to have full freedom throughout her voice. Not only that, the fact that her soft palate is barely lifted when she sings greatly limits her projection and ultimately causes her to need to strain in order to force a projection that is unnatural to the voice. An example of tension causing not only lack of projection but also pitch issues would be the flat Eb5 in “I Believe,” as well as the flat C#5 in “Pyramid.”
As a vocalist, Linzy safely deserves her role as FIESTAR’s main vocalist. She is the only vocalist in the group with a decently developed grasp of breath support. However in order to fully awaken the potential of her voice, she would have to retrain many aspects of her singing. Neutralizing tension points in her tongue and jaw, while allowing the voice to travel freely with the help of her soft palate and better engagement of her diaphragm when breathing would help her have much more power with a lot less tension when singing overall. If she plans to keep her career going as a soloist and a musical singer, it would be greatly advised that she take some time out to rework her vocal technique in order to further develop her voice.
Linzy is not a vocalist who’s had much of a chance to showcase her ability to make songs her own. Oftentimes she’s unable to perform under new arrangements, being limited to a few acoustic performances where she was able to adapt to FIESTAR’s group songs and make them suitable for a soloist to perform on her own. Aside from that though, she often shows many issues when it comes to controlling her voice, particularly in runs, with dynamics and in belts and thus loses pitch which is a big compromise when it comes to musicianship; an area in which the ability to harmonize on the spot and find melodies that fit into the chord progression of a song while staying in key is vital.
Best Vocal Performance(s)
Analyzed by Ahmin (Kitsunemale)