About & Our Criteria

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Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.

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This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.

TERMINOLOGY

Tones/Semitones/Notes/Key
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Intonation
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

Vibrato
The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

Stability
The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Registers
Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

Support
How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present.

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship/Musicality
Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

Legato/Staccato
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Agility
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

Great 

  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Proficient 

  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey, Natalie Weiss and Whitney Houston as amazing/fantastic). They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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6,918 thoughts on “About & Our Criteria

  1. I see you mentioned Ariana Grande somewhere in that blog, so I hope you can answer because I think you’re quite familiar with Ariana. You said Ariana cannot support above C5 (I’m not sure whether I remember correctly).
    But that video in 2:22 says that she can sustain a resonant G5 and a C6 head voice right after.

    Are they a resonant G5 and C6? It sounds tight to me, and it seems that her tongue is not in really the right shape and position, so she sounds so…strange to me, I don’t know how to demonstrate it.
    P/s: I’m sorry for violating the rule, so I’m fine if you ignore my comment or delete it.

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  2. Good day admins, how are you doing? 🙂
    Generally, if an idol is given a supported range that includes head voice, would you consider them consistent enough with their HV that when they use falsetto you could say that it is a conscious stylistic choice?

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    1. No because that’s like saying if a vocalist if a vocalist strains in their supported range it is stylistic. Really, it depends on the context of the performance does that make sense? We can’t just blindly call it “styllstic” we have to think about it.

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  3. Hello so im curious about a bunch of high notes i’ve heard in some kpop videos, but i dont have time to post them all and i dont think you guys have the time to answer either lol so today i’ll just ask about baekhyuns note at 03:10 here https://youtu.be/TI0DGvqKZTI which notes is it? oh and did it have support? Not sure if you can tell from a music video tho, anywas thank you:)

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    1. It’s a C5 harmonized with an Eb5. No, it is not supported whatsoever. Please next time post this kind of question where it would most be suited, like for an example Baekhyun’s vocal analysis. We prefer non-studio tracks but strain becomes harder to hide the higher you go and again I will emphasize this once, if a tenor in K-pop is singing above C5, it is rare to find ANY of them supporting that high. We have established supported ranges for vocalists, and no tenors below the great rating can consistently support up to C5 even, so if you hear a tenor singing anything higher than that, it is safe to assume it’s strained.

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      1. oh ok thank you! and yea you see that would come useful if I could tell which note it was xD like I thought that note might be an A5 lol so yea as u can see my ear is not that good yet for pitch, so not much I can do about that but i’ll make sure to post this on the respective singer next time! That I can do haha, by the way I’ve been meaning to ask this, often in your analyses I see you comment that its unnecessary for tenors to be singing as high as sopranos, what do you mean by this? is it because a tenor has more weight on his voice, so an A5 would be almost equivalent in sound to a soprano C5/D5? so in that case they wouldn’t need to sing as high as sopranos to challenge them? or do you mean something else?

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      2. How did you check for the note though? Well simply because a tenor is NOT a soprano. So it makes absolutely no sense for them to force themselves to constantly strain within a soprano range considering so many sopranos can’t even handle that range. I mean we have a total of 120+ vocalists analyzed on this blog, which consists of at least 60 females and out of which, only like 5 can actually support F5 and above. With that in mind, why are there so many tenors straining to sing up to F5 so often? I mean up to D5 sure that can happen here and there, but they constantly like to go above D5 and I mean even Eb5 is not a common note for sopranos to support, sadly. You mean an A4, right? Yes it’d be something like a D5 or so. I do mean what you’re saying as well.

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      3. yea i meant A4 sorry, and I tried to match it using a piano, well a piano app haha and ohh I see, that’s good to know and yea I agree, I think an A4 would sound better, still pretty high and he would have more tone in it, lot of people like baekhyuns tone so that would work on his favour too, thanks for the through reply! oh yea so the equivalent of a C5 for a tenor would be an A4 for a baritone right?

        Liked by 1 person

  4. Hello! Jooyi recently debuted as Cosmic Girl, and even though there are no “lives” to speak of, I found this and just want to know if she at least did well. To me, she sounds really different than before (like trying to sound less like CA, and more like maybe Ariana if that makes sense). For specific times, maybe just skip the first verse and first chorus, so like 1:06-2:10 if you have time?

    That’s all! Sorry for bothering you (ik you can be busy), but any response will do. Happy holidays!

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    1. She is a bit whinier than I remember her being before. It could be a stylistic choice for the song or a new bad habit developed from emulating a new vocalist, aka Ariana. Her transitions are kind of nice, her runs aren’t bad either. It’s a shame she hasn’t officially re-debuted. Her B4’s sound whinier than I remember them being before. E5’s and G5’s at the end, I wasn’t expecting her to go for them because that’s a shorter version of the song. Not very good but it’s expected considering how high the notes are.

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  5. What do you think about this performance? Is it Seungkwan bad day or DK is improving or Seungkwan’s higher or else?

    Maybe better if i give the spots like in 0:09, around 1:03-1:05, 1:23, 2:13, 2:32, around 2:46-2:48, 3:05, 3:09, and do you think he produce head voice in 3:13?

    I’m really sorry if i’m asking too much hehe 😄

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  6. Hello admins! I have always wondered what the difference was between head voice and falsetto. Though I have read many of your answers, I haven’t been able to understand it. Can you please link me to a reluiable video explaining the difference? Maybe hearing will help me to distinguish between them. Thanks 🙂

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    1. The first tip video kind of addresses it, have you seen it? Is there something else that you need to know? I need to know so that I can know what to address in the video.

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      1. Yes, the problem is when i sing, i dont know if i’m singing from the diagram or not, even when i record myself i cannot distinguish it

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      2. I’m not sure if a tip video would help but I know what kind of video I need to make to address that problem specifically. More so than diaphragm.

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  7. hi ahmin, is it easier to put more weight into mixed voice when sliding up or going up to the note in like a 5 tone scale? I find it much easier as compared to just hitting the note directly, am i doing something wrong?

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      1. ah i see, because i find i sort of engage more of my lower body when i slide. How can i make it more natural to just hit the note direectly?

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    1. It’s hard to be sure…the safe assumption is to put it a whole tone lower than mezzos for contraltos and a minor to major third down from baritones for basses.

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  8. Hey i was wondering why there are so many people criticizing Twice for their vocal skills and praising BlackPink’s while you used to say Twice have better overall technique than Black Pink?

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    1. I used to say? I didn’t use to it, it’s a fact and it’s something I stand by. Not that every vocalist of Twice has better vocal technique than every vocalist of Blackpink because aside from Jihyo, Jungyeon and Nayeon, all other vocalists in Twice are weak vocalists without any basis of vocal technique. But Jihyo and Jungyeon surely have noticeably better technique. Now your question is “wondering why there are so many people criticizing Twice but praising Blackpink?” I wish I knew why. People get on the bandwagon of criticizing others and sometimes it’s not even their real opinion.

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      1. I think it’s because the only thing someone who doesn’t know anything about technique can judge objectively would be pitch, rhythm, voice cracks, and legato things that are obvious and their sub vocals have those problems so even though Jihyo, Nayeon, and Jungyeon aren’t that bad they just get labelled as bad because of the group they’re in without people taking the time to listen to them individually, and they don’t really sing high notes, or do things that are considered good by most people to be distinguished from the rest of the group like Eunji with Apink, Yuju from Gfriend, most Kpop fans consider those groups as “bad” vocally but separate them from their groups as good. I’m not trying to justify the hate but you have to consider most people don’t judge by technique , because they can’t.

        Liked by 1 person

    1. Please check our future analyses list when making requests. Lay is not going to be analyzed and our rules there state clearly why. I apologize but happy holidays to you too!

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  9. I know you aren’t planning on analyzing him anytime soon, but so far, what do you think of Taeil from NCT? I would just like to hear a little about him, but if you have insufficient knowledge to make any judgements, then I understand 😅

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  10. I’m curious who is the first ever being analyze here? Is it Sohyang? Because it’s like in here sometimes some will be taken down and rewritten so the date can be changed as a newer.

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    1. I don’t quite remember actually since they were deleted. Some analyses were written in 2013, including Ailee, CSJH, JYJ, 2NE1, Big Bang and SNSD.

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    1. Someone asked me about this and I answered specific questions about Jihyo and Rosé.

      “1:18 she is speaking in the beginning, then she starts singing like two notes repeatedly 1:36 C#4 and D#4, 1:44 F#4 to F4. 2:16 F#4 again 2:21 G#4’s. I wouldn’t necessarily say that when she gets to the G#4 that she starts straining, but the range for this song is VERY narrow and not challenging for a Soprano at all. So for her to have any sort of tension on a note as low as G#4, it’s quite underwhelming for a soprano. So when you ask…is her voice shaky and breathy like that, are you asking basically if the way she sounds isn’t related to her singing technique but instead it’s just the natural tone of her voice? If that’s what you mean, then yeah it’s a technique. Nobody’s voice is naturally shaky nor breathy. Shakiness comes from the lack of control of the vocal cords, breathiness comes from the lack of contact of the vocal cords. If the vocal cords don’t come together enough, then air passes through them and then you become airy in quality. If the vocal cords aren’t fully coming together, they can’t stretch properly against proper airflow from one’s breath support. So because of that, the lack of resistance from the vocal cords against the flow of air will then make the vocalist become shaky.

      Most of Blackpink’s songs tend to be kind of speech like, so they make her sound like she’s not really singing yet. 2:53 You asked about Jihyo, so by contrast Jihyo has better support and she approaches her singing with better legato. Legato meaning the connection of the notes when she sings, she chops up her singing a lot less than Jihyo. 3:04 The thing with Jihyo is her mixed voice tends to be very chesty, so she sounds a bit pushed the higher she goes. So by contrast, Rose sounds closed and Jihyo can sound yelly. So That note at 3:04 is an A4 and the placement of the sound is good in her cavities, but she is pushing a bit too much air. Her connection is not bad though. 3:11 a bit tense on the quick phrased C5. But she supports with a lot more consistency of air. 3:24 Rose goes flat in this part, she tends to sing with less stretch of her vocal cords.

      She tries less, both she and the vocalist of 10CM are very similar. They sing with a very whiny quality in singing and tend to compress their vocal cords and throats to achieve a grittier sound. 3:44 Bb4 for Jihyo here, a higher note than anything Rose has sung so far and she sounds fairly relaxed with much better connection. 3:53 A4’s for Rose, here she is trying a bit harder to sing without relying solely on the style she chooses to sing with. This does cause her a bit of strain cause she is pushing a bit too much and tightening her throat a bit. Again this isn’t a challenging range at all for a soprano, this should be relatively fine.

      6:45 she sings with half vocal cracks when she sings but even on Bb4’s she isn’t exactly straining, 7:03 I hear throatiness and strain on her C5’s for sure but below that she is still kind of half cracking her voice for style. 7:16 C5 7:19 Bb4’s, sustained, I hear actual strain here as well. She isn’t relying on proper breath support to her voice, she is using the pressure from her swallowing muscles to try and become louder, which is hurtful to the vocal cords. 7:34 same thing here.

      So the thing with Rose is that she isn’t a technical vocalist at all. She opts for no technique and simply uses style to sing. This is fine but limiting. This is what many perceive to be uniqueness, but in a way it isn’t that unique because as you suggested, this is a popular style for indie singers. So all she’s doing is singing like an indie singer which isn’t unique to her voice, but instead unique to that style. The uniqueness comes from combining that style with a genre within K-pop that’s not exactly indie. The problem for her is that choosing to sing in this style, she never really exercises her vocal cords to develop them properly. To stretch them and connect them like they need to be and getting in the bad habit of stylistic tension causes her to actually be tense and strain her voice very early on in range. Style is fine as long as it’s on purpose, but so far I’ve yet to hear her singing outside of that narrow range she sings in or outside of that kind of style. Actually it would be more unique if she used her real voice to sing instead of leaning towards an indie technique but that would just show fans her real voice but it may not be how she chooses to sound and what she wants to sound like. So the choice is hers, most of the time she sings in a narrow range so there’s little reason for her to hurt her instrument. However if she were to sing songs that are wider in range, more dynamically challenging and need her to have better technique, I worry that she wouldn’t perform as well in them. I hope I was able to address your questions and let me know if you still have any other ones. ^ ^”

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      1. The SBS Gayo Daejun performance with 10cm, Rose, Jihyo, and Chanyeol. (Sorry, I think I might have replied to the wrong comment D:)

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  11. Hey ahmin, i recently found out wendy featured in a new ricky marting song, so now im wondering if you have an opinion of his singing, thank you:)

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    1. I don’t think Ricky Martin has very good technique, I hear a lot of compression in his throat. He seems tight a lot, but I don’t have much more of an opinion on his singing.

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  12. May I ask you how did she do here from 1:42 till 1:58 and 2:17~2:30? She’s from a nugu group but I think she has potencial to become a good singer

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    1. This is lip synched so it doesn’t really factor in for live singing. However since I have never heard this group before, I’ll use it anyway. 1:49 I already hear some closing of the throat and carrying a sound that’s placed too low in her chest on Bb4. She is not placing the sound high enough and she’s trying to drag it up. 1:50 pushed low chest placed C5 that is way too thick for her voice. 1:52 strained C5’s and Db5’s. 1:56 Eb5’s and she ended with a sustained F5 at 1:57. The C5’s and Db5’s are better placed, there is an attempt to keep the sound sung but the Eb5’s and F5’s? They’re just yelled. There’s no support at all, she just yelled those out, high larynx and pure tension. 2:19 sloppy adlibs and runs. 2:24 C5 to Db5 to Eb5 ending with 2:31 F5. Again all of it sounds pretty pushed though the quality isn’t good, the strain is more obvious with the Music Video cause the audio is better. Maybe she can support Bb4, but C5 and above? I don’t think so.

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      1. Oh I see. I’m sorry but we usually restrict video answers to vocalists we would analyze in the future or have analyzed only.

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    1. I’ll copy paste:

      “Ariana Grande
      D3 ~ E7

      Very considerable decline in vocal technique throughout the years. When she was 14 resonance, good placement and stable support were present up to about C5/C#5 and perhaps even higher as she aged, but throughout her days as a cast member of Victorious, she used a very shouty, nasally placed and uneven chest-dominant mixed voice, with lots of a swallowed tongue tension. This has been improved over the years, with considerable amount of support being brought back up into her mix and better tongue placement and mixing technique. However her voice still shows issues with tongue tension and nasality above B4, inconsistencies with support and placement and a high larynx above D5/Eb5. Support is only present up to B4 and down to F#3, however due to her nasality the support is the only thing that allows the voice to be well projected, lacking the full resonance in her chest voice and good placement. Her head voice is inconsistent and she mostly uses a falsetto, which often travels into the sixth octave instead of her whistle register, causing a lot of vocal strain. Often sings outside her supported range although possessing an extremely consistent high mixed range.

      Rating: Average or Average to Above Average Vocalist”

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      1. There’s a lot she could do. She could open up her throat and stop singing with a high larynx and a swallowed tongue. She could develop her chest voice muscles to become more projected in her lower range. She could learn to fix her diction and lift her soft palate, she could work more on her support so she stops pushing and shouting the higher she sings. She could work on her jaw tension especially in runs.

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  13. Do you guys agree that this perfomance was really bad?

    The korean netizens are saying things like:
    “Wow, she was really bad at singing. LOL. I was listening to the TV in my room and heard it and was wondering, who is this bad at singing? I came out to the living room to find out. Just an average person is better at singing than her. Seriously.” and “”Honestly, the singing was terrible.”
    I don’t think it was that bad as people are making it out to be, but I’m no expert so I’d like to know your opinion

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    1. Nayeon is not particularly good at singing at all. She isn’t a very strong vocalist, she has the basic sense of support needed to handle some of her range, but she sounds especially closed in this performance. She is usually nasal and airy, but in this she sounded closed throughout, nasal and a bit flat when I wouldn’t have expected her to. 1:07 like around there, only A4 and she’s already closing her throat. 1:18 again Aye vowel A4, makes sense almost but it’s too closed. People like to be unnecessarily mean, but it wasn’t very good. I’ve heard better from her. Maybe singing with her mom made her nervous cause her breathing wasn’t very steady, she was holding back crying at the end I feel from hearing her voice but yeah…I’m not supportive of these hateful comments but it was indeed quite a weak performance from her.

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  14. Hi, I just have some singing question. Do you have any tips on developing a trill? I like how they sound but am unable to sing them myself.

    Also, a question on placement. If you place the sound in the mask your making using of the resonators in your body right? So even if there’s strain present, the resonators would still be amplifying the sound if the note is properly placed? The note can’t be deemed “resonant” because of the strain, but the resonators are still working to create a louder sound, correct?

    Finally, I noticed in analysis you guys mention that mixed voice and head voice can be resonant. But can low chest notes be resonant? You guys will typically note like a vocalist can be resonant on a high mixed voice note or head voice note, but I noticed you guys only say that a low note is projected and not resonant. Does this mean low notes can only be projected but not resonant? From what I gather you want to place mixed voice notes in the mask, the head voice in the head, and lower notes in the chest?

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    1. Trill like a simple 3 note thing like the beginning of a run? Well…try repeating a quick sequence of notes, like even semitones. Like B C B, or C B C, and do it slowly at first, establish the notes in your vocal cords and then gradually speed it up.

      Yes yes the resonators in the body also include the head and the chest. Yes, a note can’t be deemed resonant if it’s strained, at least not in the good sense of it. Yes, although it is possible not to place the sound well and still be loud due to throat placement and air pressure.

      Chest voice can be resonant but the type of resonance we hear in chest voice in classical music is a lot more intense than in pop music. If anything, every type of resonance in classical music is a lot more intense and much louder. But the thing is the resonance in head and mixed voice in contemporary singing can be comparable enough but the chest voice usually as it gets lower, even if support is present and chest resonance may be present, the projection is always just not as intense so we don’t usually use the word resonant with low notes, but you can! Yes but to project better, placing the sound in the mask while placing it in the chest is more advisable since a microphone will pick up the treble frequencies better that way. So yeah chest voice can be resonant, it’s just that most of the time it isn’t for pop singers who prefer to whisper their low notes. An example would be U.Ji’s Eb3’s and E3’s in “A Goose’s Dream” that’s a resonant lower register, but it’s not something I’d expect many people to have.

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  15. So I’m training my ears and I’d like if you guys could correct my analysis about this group’s perfomance https://www.youtube.com/watch?v=xBXC9Oj5QGE
    0:50 shallow support, kinda heady
    1:01 much better support
    1:10 I’m not really sure about the C5, it doesn’t sound bad, maybe it’s supported?
    1:14 ok Bb4s
    1:26 strained C#5
    2:22 I didn’t notice this girl at first, but she sounds like she can support too, better than the one in the center
    2:40 Yeah, she can’t handle C5
    2:43 Actually, I think she sounds kinda throaty even when singing Bb4s

    0:17 she’s the one who can support better in this group
    0:33 she can support too, but not in this range
    1:18 yeah, support again, at least up to G#4 she sounds fine
    1:30 shallow, nasal and strained

    So, If I didn’t make any mistakes, there are 3 girls who can support in this group, it’s not bad at all, right?
    Thank you admins and take your time 🙂

    Like

    1. I have never heard of this group before. lol
      0:50 yes but why did you skip the other girls?
      1:01 She does have much better support.
      1:10 the C5 wasn’t far off but it was too tight in the throat.
      1:14 There are a lot of C5’s here too, the Bb4’s could be better.
      1:26 yes.
      2:22 Indeed she can which is why I was confused as to why you skipped her before. lol She is a bit shallow though, but better than center girl and the girl next to the one with the pink coat.
      2:40 She can’t, hers is a lot more closed than the other girl.
      2:43 I agree, I thought so too before but I couldn’t tell cause everyone was singing together.

      Oh you’re done? lol

      Next yes let’s go.
      0:17 She is indeed the one with the best support in this group, I hope she’s their main vocalist.
      0:33 she is pretty throaty in that range. She is a bit nasal compared to the other girl.
      1:18 her support isn’t very strong. 1:30 yes indeed.

      I’m not sure if it’s 3 or 1 and two halves or 2.5…yet. I’m not sure. The one in blue gets a lot of high notes but she’s not the strongest of the bunch, which worries me.

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      1. Thank you! I wasn’t sure about that girl that’s why I skipped her at first haha I think 4 girls are from a group called Minx, but they are going to re-debut as a group called Dream Catcher, from the same company. I don’t know what happened tho lol It reminds me of T-ara where Eunjung sings more high notes than Soyeon lol I hope they release more practice videos. I did fine here, right? Thank you again.

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  16. I am curious, please don’t take it wrong, but how do you enjoy the singing of weak vocalists? I know you guys have explained before that you can still like the tone, style etc. even of vocalists with bad technique, but does hearing straining and other problems take away from your experience? Personally, as a layman, I don’t usually pay attention to or recognize many of the issues you guys identify (until they’re pointed out). Do you separate the analyst from the fan when listening to music?

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    1. I’ve been wondering this as well, im kind of scared in a way that training my ears will lead to not enjoying my fave groups singing as much lol

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    2. Um it depends really. Like most of the time I just ignore it. Really it depends on how bad the strain is, but I mean yeah sometimes I am like “that was strained,” however I wouldn’t say it takes away from my experience. Personally, I believe I can enjoy a weak vocalist as much as I can proficient or good one if I like them.

      Liked by 1 person

    1. I have listened to some of her stuff and I am fairly certain she is a weak vocalist she has very shallow tone production and her support isn’t very strong. She definitely is more of a vocalist that relies on style

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  17. Hello~
    I just wanted to ask if you guys know anything about Barbra Streisand’s technique? Because I’ve noticed a youtuber that always seems to praise Barbra’s technique (I think you know which channel it is) and it simply irritates me how they seem to overestimate her. I wouldn’t be surprised if they made a religion based on Barbra LOL.

    No one would even bother to argue with the youtuber, since it’s really quite obvious that he/she is biased towards Barbra. But they always seem to ignore the weaknesses Barbra has.

    Correct me if I’m wrong, but for a mezzo, she doesn’t seem to have a very good lower range? I mean, based on her vocal range videos, notes below E3 are practically puffs of air with very few exceptions.

    And her head voice isn’t exactly great either. She hasn’t even shown any notes in the 6th octave and they seem inconsistent? The F#5s are nice but the A5s just seem wobbly.

    But her mixed voice is really nice, that i’ll admit. But F5 and above sounds really heady. Her dynamic controls tho O_O. Gota give props to that. Since she’s more of a Broadway singer, agility wouldn’t be very important, right?

    Anyways, I know this isn’t Kpop-related and all, but I just needed to rant since I feel like hitting my head against a wall if I hear anymore about how perfect Barbra is LOL.

    This is mostly where I gathered the information and this also the same channel as the Barbra enthusiast lol. Funny how they have it right under their noses…

    Well, on a side note, I wish all of the admins a Happy New Year^^. I hope you guys will continue putting out great stuff^^

    Like

    1. We don’t really answer video questions regarding non-kpop vocalists but since you didn’t REALLY post a video for me to watch that I haven’t already seen, I can to an extent answer this question.

      Actually let me get one thing straight here. I don’t know who started spreading this BS but neither Barbra Streisand nor Lee Sunhee are mezzo sopranos. This user thinks Barbra is a mezzo and currently she may very well be one, but young Barbra was not a mezzo soprano. Lee Sunhee seems to take inspiration from Barbra in her singing, so this user and another one like to believe that she is also a mezzo with just as good of technique. Which are both not true.

      Barbra, young Barbra, did not have the passaggi of a mezzo soprano. Her lower range below F#3/G3 as a young vocalist wasn’t supported at all, it was barely developed and her mixed voice was far too comfortable and it simply shone, like it was where her voice was meant to shine. Barbra below Eb5 was on and off quite chesty, but with bright placement. Then she’d become very heady above Eb5, but many times she was still balanced. I do believe Barbra had good technique in her mixed voice and very good dynamics throughout her range…She also could definitely support Bb5 in head voice, from what I remember. I watched this vocal range video and this is exactly what showed me that she was more likely than not a Full Lyric Soprano. However a heady mixed voice which is well placed and supported is fine to me, it may not be that great for development and she could have developed it even more BUT she still had pretty good technique.

      Barbra is not and was never a perfect vocalist. Nobody is and nobody will ever be because we aren’t singing machines, we are humans. However for how praised she is, aside from dynamics and her mixed voice, Barbra’s other registers aren’t all that at all. They’re decently well developed but they’re nothing to be super impressed by. I do believe Barbra in her prime was a good vocalist in our standards at least, if not great. As a full lyric soprano. After aging is she currently a mezzo? Perhaps, but she was not a mezzo when she was young.

      Don’t worry, I get annoyed with the stan youtube channels that try to pass off as knowledgable of singing but really just want to spazz over their favorite vocalists while overlooking their vocal flaws. Barbra had many flaws, like every other vocalist out there. So don’t worry, at least it’s not as bad as the Christina Aguilera stan youtubers.

      I hope you have a wonderful new year as well my dear. ^ ^

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      1. Yes! I just knew she wasn’t a mezzo when she was younger! Her lower range really seemed to be lacking and her mixed voice really don’t seem mezzo-ish. I mean, if I compared it to other mezzos like Beyonce, Lady Gaga or Jojo, there’s just too obvious of a difference. But since a page on this blog listed Barbra as a ‘Lyric Mezzo-Soprano’ I thought that I was wrong lol.

        Her Bb5s in that video was nice, but I heard some really non-impressive G5s in another video so I wasn’t exactly sure. And Christina Aguilera stans…I still don’t see how shouting can make you emotional but to each his own person LOL.

        But thank you for answering this and clearing it up for me^^

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      2. The best thing I’ve noticed about your page is that I am finally learning more and more about voice and singing in general. I used to attend music school and had to sing a little bit, so I have some basics, but I could never really understand my instrument. I am not planning to come back to singing too, but thanks to you I can see all of my previous struggles and strengths. You should be really proud of yourselves, you’re doing an excellent job, providing vocal knowledge in an easy and (at least for me) creative/funny way.
        I just wanted to reply, cause you’ve mentioned Christina Aguilera, whom I used to listen to a lot when I was a kid. I still like her songs, but I wish she would work on her technique more. A shame, really a shame. Do you have any other vocalists (beside Ariana Grande, because she’s everywhere lol), that are known to be waaay to overrated? Or maybe someone totally underrated, but worth listening to? 🙂
        Happy New Year!

        Liked by 1 person

      3. Awww I am so happy to hear! That’s exactly what we want to do! Now…mhmm I’m not sure, Lady Gaga and Jojo are quite underrated vocally. Anybody else is fairly overrated because none of them have very good technique, as far as I’m aware. Except for Beyoncé.

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      4. It’s better, the tone is clearer actually from the beginning. You’re still breathing a too harshly, like you sound breathless which kind of seems to be part of the song so control yourself a bit more but… I am not sure, I am not too familiar with the song but I am not sure how you hit D instead of Eb, I’m not sure where you went off key. But the approach is better! Do be careful with pitch!

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      5. Yay! I hoped that it was a bit better. But can you tell just how the approach became better? If I were to improve, I’d want to thoroughly know how I improved and what I was doing wrong so I dont do it again lol.

        And the air thing…I think a part of it is because of nerves. I get really nervous while recording lol I don’t why. I do my best to just not shiver. If I’m this nervous while just recording in my room, I think I’ll die on stage oml :’).

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  18. Hey long time no see! Happy New Year! I’m back with some more Zhang Liyin goodies, Girl probably decided that since SM isn’t doing anything for her, she’d do it herself. She recorded, rearranged and produced some covers and her own music videos. So I would like you to analyze her vocals and tell me what you think. (BTW she more likely lipsynced the songs for the MV) It’s been a long time…

    Here is her cover of Alan Walker’s “Faded”

    and Wang Lee Hom’s “All The Things You Never Knew”

    Thank you! And btw, if Zhang Liyin’s contract with SM expires and she moves to another non-Kpop company would you still make an analysis of her? That is all Thanks! Keep being awesome. 😀

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    1. I’m okay with this cause I know this song so I don’t really know time stamps. I know what to expect. She has airy shallow support, from the beginning. She has a pretty voice, but it’s placed heavily in her nose and she doesn’t open up at all. 2:17 closed throat C5, the pitch isn’t bad. There’s just too much throat and air throughout, she doesn’t support her voice well at all. She just hasn’t really grasped the basics yet.

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    1. Dear, I already told you before. Eu disse que chutaria que você é um barítono, mas não da para ter certeza não porque você não é audível, mas porque você não tem a voz desenvolvida e você sussurra mais do que você canta. Você meio que canta abaixo do tom e é difícil de dizer porque você é tímido demais e você meio que fala-canta ao invés de cantar de verdade. Ainda faria mais sentido ser barítono.

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  19. Just a question, if BTS Jungkook were to develop more vocal techniques, would he lost his softer, mellower voice of singing? Because I really like the way he sounds and all of the technically good vocalist always sings powerful song. I like BTS style of songs.

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    1. No, not at all. That style of singing is still something he can choose to adopt when singing those types of songs. Instead he would become more flexible and able to sing a lot of other types of songs with better skill.

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  20. Hi Ahmin. I am working on my nasality following the instructions of your Kpop vocal tips. When i block my nose and try to sing a melody nasally, my nose vibrate so much. Then i drop my jaw, it still vibrates but only a little, just a little, and little . Does that indicate that i still have small nasality or my nose just vibrates by nature?
    Happy new year!

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  21. hi~
    so i finally managed to record myself (my sister and I were fooling around with karaoke yesterday lol) i was wondering if you could figure out if i’m a soprano or mezzo ? my range is e3 to d6 if that helps

    sorry the recording’s pretty crappy & you can hear my sister in the background :/ ik my pitch isn’t bad but i don’t think i support very well (if at all) but idk where to really start for improvement ;;
    we sang itnw: http://vocaroo.com/i/s1nRghec7Xrm
    tysm

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    1. Hi honey. I went back to check other comments you’ve posted so I’d have more context as to who you are exactly. lol Your range doesn’t really help much but based on this, yes I do think you are a soprano. You don’t have any depth of tone in your lower range, save for the fact that you are quite heady in your singing. You aren’t very chesty, so although this song isn’t very low, I hear a bit too much airiness when you get low and you sound pretty bright throughout your range. Also I do hear the nasality that you talked about before but that’s also because you’re so bright, it’s not strong nasality at all actually. Yes for your sister getting the F#5 in the background lol You don’t have a strong sense of support, you are a bit too airy and you use air pressure for the singing. You push, especially as you get higher and your accent gets in the way of your singing. Now I don’t know if you were to sing in English, if you would still have as prominent of tongue tension but throughout this I hear tongue tension for sure. So try singing with your tongue stuck out and exploring a bit more chest resonance as you get lower on a nice opened vowel like Ah. Sing scales up and down without too much volume just to get the vocal cords to stretch as well.

      Like

      1. ahhh i figured that i push my voice a lot lol, i feel like im borderline shouting sometimes ~_~
        but thank you so much!! this was much more than i expected im gonna try & practice more

        Liked by 1 person

  22. Hi. Can you give me some comments about Eunha’s vocal ability? I think she has a higher range compared to Yuju but sometimes she loses pitch on stage, and I’m not sure if her E5s in Navillera are nasal or it’s her voice that gives me the feeling of nasal. Thanks a lot.

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    1. Both of them are sopranos, but Eunha sings with airiness and a high larynx. She sings with very underdeveloped technique and because of her high larynx and nasal placement, she sounds higher and less full than Yuju. Accounting to the fact that she can’t support her voice properly at all, there’s a huge difference in vocal skill between the two.

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      1. There’s the same kind of concept for them. None of the members of Gfriend support well aside from Yuju. Well Eunha is way too young for vocal damage to catch up to her for now.

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  23. And is there anything bad that may happen if Eunha keeps singing E5 in their song with so much nasal? Her voice seems still undamaged so far, compared to Yuju who has to use falsetto for E5 recently.

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  24. I’d like yo ask, in what range is normal(?) for sopranos to use a balanced mix? I mean, it is kinda weird if one just uses a balanced mix at eg. A3 then suddenly changes to pure chest voice in Ab3. Also, is it not very common for girls to use a pure chest voice, coz I usually see you use lower register rather than chest voice.

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    1. We sometimes use chest and lower range interchangeably. The mixed voice should more or less be controlled and remain balanced throughout. There’s no where where the mix should be mostly chesty or not but the closer it is the chest voice, meaning below Bb4, the naturally chestier it is.

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  25. I have a few questions concerning falsetto: What is it really exactly, how is it produced, do only males have falsetto or do both genders have falsetto? Is it considered out of one’s vocal range? A friend’s choir teacher says females do not have falsetto. Meanwhile, there are other vocal experts saying they do.

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    1. Okay I was going to tell you to look at our The Voice page so that you’d get a gist of it but I feel it wouldn’t answer all of your questions so I’m going to address them all because they are quite a few. lol

      Okay so I’m going to start off with this. Falsetto is Italian, head voice is English. Theoretically speaking, we shouldn’t be using both terms in English simply because in Italy when vocal technique was created, there was no such thing as opening up the larynx and looking at the vocal cords to find out what is doing what and what should be called what. With that in mind, they went by instinct. They heard what they heard and called it what they thought it should be called. So for classical singing, there is no mixed voice for females. Actually let me break it down a bit more.

      When it comes to classical singing, if you talk to someone very classically trained from what I know, the divisions of a female voice are basically chest voice and head voice, which is the same for males. Why? Because that’s where they resonate. Males are said to have a chest voice, a head voice AND a falsetto. However what they call head voice for males, we call mixed voice. It is placed higher than chest voice but the muscles working for it are the mixed voice muscles. Women however don’t generally mix, at least not sopranos nor mezzos, I am not too sure about contraltos or lower mezzos. The mixing is forgotten and they quickly switch to head voice, which is why transitioning from classical singing into pop singing for women can be very difficult and it takes years quite honestly for the voice to settle.

      So going back to it, they called the male head voice a falsetto because it didn’t sound like their natural speaking range. It sounded like “a fake voice” therefore it was considered a falsetto. So the male head voice is called falsetto but the muscles working for it are the head voice muscles. Now male head voice isn’t pure because it is closer to the chest voice than the female head voice. The passaggi are closer together, so the muscles don’t transition fully without carrying a bit of chest into it.

      Now let’s fast forward a bit. Chest voice, head voice and mixed voice are popular contemporary terms. They aren’t terms known to be used in classical singing at all. The term head voice and the term falsetto are often used interchangeably and to an extent, they should be. Because they are and are not the same. Now the way the term falsetto is used currently in the English language refers to a separate register from head voice. Whereas head voice, chest voice and mixed voice are all within the modal register, meaning the connected register, the vocal fry register, the whistle register and the falsetto register are disconnected registers. Falsetto is produced once the vocal cords don’t touch fully. It is an extension of the head voice, it is kind of like a parallel sound to the head voice. The range is mostly quite similar, but since the vocal cords aren’t coming together fully, the sound is thin, soft, quiet and airy. It lacks dynamics and for not being a connected register, it can’t produce resonance.

      So in a conservative classical way of thinking, head voice is for females and males, and falsetto is for males only. Now in contemporary terms, we look at the muscles that work to produce registers. Since the head voice is produced by the cricothryroid muscles mostly with some thyroarytenoid in both men and women, even if the sound may be different, the muscles working are the same therefore in contemporary terms, both women and men have a head voice. The classical male head voice is what we call a mixed voice. Both men and women have a chest, a mix and a head voice, all within the modal register. The falsetto register can be produced by both men and woman, if by falsetto we mean the register produced when the vocal cords don’t fully touch and the sound isn’t connected nor properly supported. And yes males and females do have a falsetto and it is considered part of your range. The whistle register is also part of your range, even if the way it is produced isn’t part of the modal register. Now again this is all getting a bit deep into it and it is up for discussion, but that’s what I know of it and my thoughts on it. We consider it part of your range, but some strictly classical people may not. I wouldn’t say they’re wrong and we’re right, I would they are using the term falsetto differently from how we do it. We should really have a new term for falsetto in the English language so that is doesn’t become confusing.

      Like

  26. Hi there! I was wondering whether you’re familiar with Sam Smith and Ed Sheeran? I know they’re not kpop related so I’m not asking for an analysis, but perhaps a brief overview on comments on their skill? Thanks so much!

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  27. Can you analyze this vid? Are there anything new for Seungkwan and Seokmin vocal? i feel like Seokmin is improving his skill these day!

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    1. You mean DK? I’m sorry, I don’t know their birth names. Seungkwan had a quick strained and closed B4 at 1:56 or so. Most of this was G#4’s and below, he was doing quite well throughout. 2:20 around this part if you watch DK’s neck, you can physically see his throat closed and his larynx raising. So..yeah G#4 still seems too high for him for now, he uses way too much tension from his throat muscles in that range.

      Like

  28. Hello ahmin~
    I wanted to ask about my favorite group which is twice. It has only been 1year 2months+ since their debut and they’re already getting alot of hate because of their seemingly lacking vocal ability. Well what I want to ask is if they’re really all weak vocalists besides jihyo of course who is most likely an average. Sorry for asking about a relatively new group but I would like to know if the rest of twice are weak vocalists. *Although I would be pleased if you answer, I would feel bad if you went to look up more about Twice just to answer my question. So, it’s okay if you don’t answer my question if you’re busy / are not familiar with Twice.* Thank you ~

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    1. I know you’re not asking me, but ahmin has answered these questions before (since I have asked about Twice vocalists) so I’ll help you. It so far seems that Jihyo is average, Jeungyeon seems to be weak to average or average, Nayeon seems to be weak to average, the rest is weak. I believe people think Twice are bad vocalists more due their lack of stamina; singing and dancing at the same time takes a greater toll on their vocal performance, but when it comes to technique they’re really not worse than another average kpop group.

      Liked by 1 person

    1. Oh god I don’t even know to be honest, I quite liked BTS actually cause I was able to address many fan questions and worried within the analyses.

      Like

  29. Hi there! I’m back again with my baritones~
    I didn’t see Ju Yoon Ha on the list and as you’re no longer taking request, I just wanted to quickly ask you whether he was a baritone or not.
    He does have that baritone vibe and stuff but I was wrong for Yesung so I’d rather ask lol.
    If you’re not familiar with him, here are a few of his songs.

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  30. Hi, I was wondering if you had any familiarity with Jackie Evancho? If so, is she someone that would be classified as a pop vocalist? (not sure if I’m phrasing that right, but I guess her singing kinda makes me think more of an operatic style than a pop style?)

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  31. What group do you think up in your mine if i ask all the vocalists (Main, lead, and sub) are tenor? Because like BTS, there’s V as Baritone, EXO: Kai (lately he becomes the vocal line than rap line), SuJu: Kangin, Siwon, 2PM: Junho lol

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    1. nuest are tenors, except the rapper which im not sure his voice type. vixx also, unless hongbin is a baritone which im not sure. homme, if you count them as kpop group. if not then i cant think of any other

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      1. Yeah, it’s random by the way but i’m curious lol yeah i think at least there’s a baritone in the vocal line no matter main, lead, or sub. Well outside the rapper of course. So, so far it’s like Nu’est? Okay

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    1. She is mostly an stylistic vocalist, so she is closer to weak than any other rating but I won’t say anything with 100% certainty because I’m not TOO familiar with her.

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  32. Hello, me again, long time no see. Although you will not analyse L (Infinite), but could you please give a quick analysis about that performance:

    Especially his high note in 2:41, did he sound nasal in 1:32?

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    1. Your 2:41 time stamp leads nowhere but 1:41 does. I’ve been asked about these performances a long time ago, so I’m going to copy-paste.

      “I’ll answer the questions about L on both videos, since other users kindly posted his other performance. I hope they’re following the page so that they’ll see my reply and I won’t have to copy-paste it for every single commenter. lol

      0:13 ~ 0:29 C#3 ~ B3 is the range he was singing in, he sounds somewhat relaxed, shallow in support, a bit too airy, but overall he sounds fine. It’s not a challenging range for a tenor nor a baritone. (The guy just speaking kind of caught me off guard lol I was like..uh lol) 0:38 he hit C#4, that’s the highest so far. I’ve had doubts about L being a tenor or a baritone before, comparing him to the baritone singing with him makes those doubts go away. He sounds like a tenor. 0:55 ~ 1:15 He’s singing a lot of F#4’s and D#4’s, 1:00 that D#4 sounded tense, mostly a tongue thing. Granted this is the least tongue tension I’ve ever heard from L, it’s still enough that it makes him singing D#4’s with tension rather unimpressive. 1:40 D#4’s again, they sound more relaxed, that 1:44 F#4, that was good reverb on the mic but the note sounded so throaty. He has a nice light mix so he doesn’t use a lot of chest and so the throatiness is masked away with the lightness. For a tenor, he can’t support F#4’s so that’s not something very good. His sense of support isn’t very strong throughout. On a side note, the baritone singing with him is frustrating me because I know who he is, I know his voice but I can’t put my finger on it. ugh. He sounds like Kim Dongryul actually.

      Someone posted this on the vocals thread at OneHallyu so I’ll copy the link and base it off of this video instead of the other ones people posted:

      He has some sense of support actually, he sounds much better than before. I’ve heard him sound completely supportless. 0:46 a little bit of that tongue tension still present on the Eb4, but he sounds alright. 1:05 Eb3’s nice tone. 1:12 tightness, throatiness on the F4. 1:40 tension on that Eb4 again, it may have been a laryngeal vibrato. This is a nice song, his voice sounds nice here. I am glad, cause I tend to not be able enjoy his singing usually because there’s a lot of whininess and tongue tension. 3:13 still tension on the F4’s, still tongue tension is present in his singing. He still sounds like he’s more of a weak vocalist than anything else, but this is much better than anything I’ve ever heard of him. I take back ever thinking he was a baritone. He’s a tenor. 4:24 that’s some really nice reverb on that strained G#4, really throaty but again light mixing covers it.”

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