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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6,963 thoughts on “About & Our Criteria

  1. How about Xiumin’s support in that song? I think he shows some sign of support. Is his support strong or weak?
    I think someone asked about this per. already but I don’t know how to search in that blog.

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    1. Ah…. I just want to add something relating to the song Saldaga.

      Could you please give some comment about his vocal technique. He’s a phenomenon in I can see my voice

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  2. Hi(: Sorry for disturbing very early in the morning with another question.

    I read somewhere recently that on his days without schedules EXO’s Kai does up to 3 hrs of vocal lessons. If after all that Kai is still a weak vocalist would it be because they teach badly, they teach something different in vocal lessons that aren’t about technique (idk maybe improving his tone?) or the lessons don’t let him improve but just keep him warmed up or Kai isn’t able to improve quickly without more lessons at regular intervals. Sorry if long question, I’m just curious as to how he can still be weak after all that SM standard vocal training.

    Thanks!

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    1. I can’t say without hearing and watching his vocal lessons. The vocal instructor may be the problem, his practice may be the problem. 3 hours a day is a bit excessive and if done improperly they reinforce bad habits. It’s all speculation and I can’t be sure without hearing it.

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    1. This is a studio track, not a live recording. Also she is a main rapper and a sub vocalist. You always comment on our future analyses list but not really on any of our analyses so I’m not sure if you’re familiar with how things work, but assuming I’ve replied to you and analyzed videos…you know how things work. So…I’m going to be brief because she’s a sub-vocalist and she’s not going to be analyzed. She has a pretty voice, but she is singing with airiness throughout. She is almost whispering, singing with a falsetto and an airy chest voice. Most of her tone production is with shallow improper support and almost no proper connection between her vocal cords. If her vocal cords aren’t connecting, she’s not supporting well. She doesn’t sing with proper basic breath support, doesn’t connect her vocal cords, has no dynamics, is barely even mixing…This is pretty, she has a pretty voice. Aesthetically, it’s pretty, but technically it’s limited, dynamicless, no support, no true placement…She is a weak vocalist, simply put. Like every other sub-vocalist of every idol group that I know, she is a weak vocalist. So I ask that in the future you don’t post videos with sub-vocalists. Thank you and I hope you understand.

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      1. Did you think she did okay in that or no? Nothing super in depth, I’m sure you have other things to do than reply to comments lol. I think she did okay on all her performances, I liked YangHwa bridge the most.

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      2. It wont let me reply to your other comment, but I did mean the performance in general, but if you don’t have the time to watch its no big deal. Thanks for answering!

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  3. hi ahmin. I know your request list is no longer added but i can’t resist my curiousity, especially i caught this video 4 years ago.
    Cha soo kyung is exceptional cuz she’s one of a few singers using whistle with wide range like Mariah Carey

    i think she controll them better than Wendy, is it right?

    Another example, she switches among chest register, upper chest and upper extension a lot https://www.youtube.com/watch?v=0JkyVX537i4

    Can you give a very quick analysis about her? Thank u so much

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    1. Exceptional as in special? Perhaps. Exceptional as in skilled? Maybe not so. Wendy doesn’t really use her whistle to sing so yes it is better than Wendy’s. Only Dia, Wendy and Ailee showed whistles and only Dia used it musically, amongst idols. Cha Sookyung sings like filipina divas actually, I hear a lowered larynx in her lower range, a lot of pitchy runs, a lot of growling, a high larynx in her whistle register and in her mixed voice. She has a lot of potential range, but she just approaches it with pushing air and manipulating her larynx position. Her mixed voice is tight throughout. Her whistle is really strained actually. She tries too hard to sound like prime Mariah and so she doesn’t sing with her real voice many times. My All is a lot better than Emotions though, a lot less straining, a lot less pitchy runs.

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  4. Hey, random question, but do you have any idea why some famous pop singers who are known to have vocal coaches seemingly don’t improve? Like Ariana worked with some vocal coach named Eric Vetro and her vocals seemed to have only regressed? Is this more just a fault of the singer or the vocal coach? Or do you think there are a lot of “bad” vocal coaches out there? I’ve noticed while vocal technique for contemporary singing is somewhat standardized, but it’s not quite like classical singing where the vocal technique/training seems much more standardized. Because of this, it seems like there a lot of people who “sound nice” singing but have no idea how to train a voice but still become vocal coaches because they “sound nice” while singing.

    I know Sohyang took some lessons with Seth Riggs, but definitely some of the singers he has taught don’t seem to be particularly good vocalists at all. Is it a matter of the student or coaching that you think is the problem?

    Also, another random question but are growls/grunting in singing healthy? I notice a lot of people say Beyonce is someone who properly growls with good technique, but knowing how much misinformation there is out there about vocal technique, I want to know if there even is a way to growl in a healthy way. Thanks!

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    1. It’s a mixture of both. I’d have to hear how she’s taught but if you look at Jojo for an example, she had a vocal coach for sometimes and almost nothing got better in her vocals so she switched and got a new one and suddenly, her mixing, agility and everything else improved a lot. So not all vocal instructors know what they’re doing in terms of theory. Some just do it by instinct, which works for some people but won’t work with everybody. This is why even though people say Kim Boa and Solji were vocal instructors prior to their idol debut, for instance, Solji especially was the instructor of all current members of EXID. Even though SHE knows how to sing somewhat correctly, she was not able to pass it on to the other members of current EXID. She may know how to do it, but she doesn’t know to make someone else do it. That’s because it’s likely she learned by instinct and not theoretically, so she doesn’t know why she knows how to sing somewhat correctly, she just does it. So yes it’s like you said, it’s supposed to be standardized but there are a lot of people out there who don’t know what they are doing, even classical instructors are victims of this and teach some students incorrectly, namely when they teach them under the wrong voice type.

      I think it’s a matter of method and methods that honestly do NOT work for everybody. Every student is different and you HAVE to know how to address each individual student differently instead of thinking one method will work for everybody, which is the problem with SLS and many other methods of teaching singing.

      Growls CAN be done in a healthy way if they’re not too forceful. If they’re stylistically, there’s no real problem with them. There is a way but honestly I’ve never learned it and I figured it out myself, but when I used to do it I used to use my vocal cords to do it, which hurts. I think the proper way is by using the false vocal folds above the vocal cords, which isn’t harmful. I may be wrong though.

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  5. Since Seulgi’s analysis isn’t here yet I wanted to try analysing her performance since Idk much about her technique.

    I think she’s supporting fine first of all. 0:26 kind of a shaky vibrato, I think that means her support isn’t fully developed but it’s still there. 0:31 slightly pitchy/messy run, and she’s starting to get nasal too. 0:39 supported A4? (I’m not sure about the notes) 0:42-43 high larynx, 0:59-0:51 high larynx 1:04 unsupported low note (I’m not sure how you do it when the notes are mostly air) 1:09-1:12 it sound supported but not open enough maybe because of the vowel. 1:12-1:13 very strained. 1:18-1:25 all of that is very strained and tight/closed and the run at 1:19 was messy. She did something wrong at 1:22 idk what it is 1:30 messy run again. I know you said to include but I thought I would embarrass myself with how off they might be. Also is she more of a chesty vocalist, I think so.

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    1. Okay let’s see this. 0:13 mention the G3, it was very muffled and lacked clarity of tone. 0:31 the trill wasn’t bad at all, it was just the air she used by singing memory-heehee instead of memorryyyyy. The air she added with the H was what she used to find the pitch, not her vocal cords. 0:39 yes supported A4. Her phrased B4’s aren’t bad in this to be honest, although again her support could be much stronger and a lot better engaged. 0:54 now this run was pitchy. 1:06 unsupported G3’s, again don’t ignore her lower range, the pitch was there. lol 1:22 what do you mean exactly? I wouldn’t call her chesty, she is in her throat but isn’t very chesty or thick. She’s throaty but kind of light throughout. Good job though for the most part, just be careful with hearing low notes and runs otherwise you hear strain, but pay attention to details.

      Liked by 1 person

      1. Thank you! I think because low notes are kind of just passing air, I miss it really easily. At 1:22 it’s like it sounded worse than the other maybe it was more nasal idk? And did you agree with what I said for 1:09 to 1:12?

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      2. I don’t hear anything particularly different about 1:22. 1:09 I hear an attempt to support and to place her voice, but it is a closed vowel and she is pushing to make her voice louder.

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    1. Contratenor é um termo que pode ser argumentado e não é fixo. Pode ser um homem com uma voz aguda e feminina ou com uma voz da cabeça bem desenvolvida. A gente prefer não usar o termo em pop.

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  6. I know it’s not kpop related but if you’re already familiar with them could you give me a quick opinion on Scott Hoying and Mitch Grassi from Pentatonix? Thanks

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    1. As far as I know they both have very good technique in their mixed voices and really good agility. Scott can produce resonance up to F#4, he’s a baritone. That’s all I know.

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    1. It’s been done so I’ll copy-paste:

      “Rosé started off singing with a nasal placement, barely opening her mouth which caused her sound to project from her nose. 0:03 that note was flat. She is singing around F#4 and G4. She sounds fine but she is not opening up her mouth enough, so she sounds very nasal. 0:17 she likes to let her vocal cords come apart and crack a bit for air to come through stylistically. Jisoo’s harmonies are nice. 0:33 and 0:38 she is singing A4’s, where I hear a bit of the grabbing of her throat muscles around her larynx. She is pushing very slightly. 0:43 Jisoo is flat, tone wise and pitch wise. She is barely supporting at all, she is mostly flat and her throat isn’t very opened so her sound isn’t projecting very clearly. Rosé is a lot brighter in placement due to her nasality, but Jisoo’s tone production is very shallow. Her English diction makes her sound nasal too. This song isn’t very challenging at all but it was nice, the harmonies were the best part. Aside from that, it was a fairly comfortable range and it doesn’t really show anything special for Rosé, especially not around A4 since that note is a bit low for her to show any sort of tension.”

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    1. It’s atheistically pleasing, it sounds pretty. Technically speaking all she’s doing is using a slightly high larynx position, a somewhat relaxed approach to her singing but she’s very airy and a bit too much of air is coming through her vocal cords. She is also a bit nasal throughout. She’s only singing as high as A4 in her mix, which mostly sound relaxed. A bit too pushed with air at times, but mostly fine.

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  7. hi! would you mind giving a short analysis of this video? the girl on the left is shannon, the main vocal of pledis girl’s new girl group PRISTIN and the girl on the right is pinky from ioi (remember those A5’s from whatta man)

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    1. Finally they changed the name to something other than Pledis Girls. Pinky is not a main/lead vocalist, is she? Cause she has very shallow connection in her vocal cords. I hear mostly airiness and a lack of support. She isn’t really supporting properly, she is mostly relaxed but airy. 0:53 D5’s in falsetto for Sungyeon, she sounds fine throughout, this is just soft singing, with airiness in a very low and comfortable range. 1:24 airy unsupported G#3. 2:21 her falsetto is almost like a head voice. 2:38 nice harmonies. 2:54 G#4’s, fine, not strained. 3:06 a bit of tightening of her throat on that quick C#5. 3:22 Bb4 seems supported. The runs are fairly simple, there’s a lot of stylistic airiness, some fairly simple nice harmonies, nothing really challenging but nice for Sungyeon, a decent enough amount of support without tension.

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  8. ok so you guys have previously mentioned that ariana grande is overrated (agreed) & jojo is underrated (agreed x2000 have u listened to her new album???), but im curious as to how you feel about tinashe’s technique? idk if you’re familiar with her at all tho lol

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  9. Pinky is actually their main dancer! Her nickname is “China’s dancing machine” lol. Thanks for the analysis, i can’t wait for their debt

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  10. Ahmin how did I do here ? I’m still a guy singing along with a girl LOL !

    Btw what I know for sure is that I’m DEFINITELY a Baritone. When I sing Jaehyun’s parts I sound EXACTLY like him in terms of fullness. The flatness during Taeil’s highest parts in the Bridge is also a dead give a way. Well, maybe if I hadn’t sung this song over and over for 10 times I could’ve done better (yes, this audio is the tenth take).

    What are the flaws in this cover ? List all of them especially the minor ones please. Did I support ? All the ad-libs were done by me so I guess they really wore me out. I felt EXHAUSTED at the end of this song LOL.

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    1. I mean this is a vocal analysis blog and a lot of this is kind of…rapping, so I am going to skip those parts. 0:37 These parts are kind of generally flat, pitch wise and in tone. The back of your throat is closed, your soft palate isn’t lifted, so your tone sounds flat and closed. You aren’t breathing properly nor connecting your vocal cords, so your falsetto is also fairly flat. You are kind of using your throat the whole time when singing, it’s hard to tell. You are using a lot of range, but there’s just a lot of rapping in this…and like it’s not a song I would advise anybody to sing when they’re learning to sing to be honest. Your timing seems a bit off too, I don’t know the song but you keep being slightly behind the beat.

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      1. Yay ! Thank you for finally replying ! I’ve always thought how I sing seems blocking the tone from coming out entirely, hence they always sound stiff and blocked. I’ve always used my throat and my mask placement really isn’t good.

        It seems that my soft palate not lifting, me using the throat and the placement not being correct has to do with the fact that I’m never confident in my ability to give my full potential vocal-wise. Whenever I actually sing better, I feel kind of weird. This song is also, like you’ve said, primarily rapped and the range I sing varies, so it’s not a really good song for practice. Do you have any Baritone songs that may help me to isolate the throat, high enough for me to lift my soft palate and place my voice well ?

        Regarding the breathing, it’s actually the thing that I work on the most. I’m always breathing in this song and you can pretty much hear that I always inhale. Maybe the problem is the support, not the breathing. Whenever I sing, I always feel like no matter how much air I take in, it’s never enough. We may go back to when I say that I’m not too confident with my voice, this might have influenced me to support too shallow for myself aswell as not using the air that I actually have.

        In addition, when I actually try to concentrate on placing my voice well high and not use my throat, I tend to worry A LOT that I don’t have enough air, so I always concentrate on supporting and breathing…

        Falsettos have never been my strong points, I’ve never learned how to sing them properly. I’ve only been training my lower mix and my chest. It’s so embarrassing to struggle especially at the “Oh baby it’s YOU” where pitch is loose.

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  11. I see a person on Facebook said that if someone can’t used head voice, she (or he) can not develop whistle register. Is it correct? Because I know Mariah Carey usually use falsetto but her whistle is very nice (although sometimes her airness bothers me)

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    1. No that isn’t true. The whistle register is completely separate from the head voice, if you can use the whistle register you can train independently from your head voice.

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  12. I hear some people love growling in singing, but they sound like they squeeze their throat and their larynx too much to produce a very forceful growling sound. Could you tell me how our larynx work when we growl? And how to growl properly?

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    1. I’m not sure entirely. I believe it’s similar to the vocal fry register, where the false vocal folds above the vocal cords rub and create a grunt sound. The improper way to do it is by using the vocal cords to grunt. I’m not 100% sure though.

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  13. Hey didn’t you see my comment with my cover to NCT 127’s Limitless ? :(( I’m not asking for a really deep analysis, just asking you to point out minor (and probably major too) faults in there

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    1. Have you ever shown me your singing or this your first audio? I’m sorry but I missed this recording, but I found the comment and have kept it there for me to reply later.

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      1. I’ve shown you my singing with BTS’ Butterfly 🙂 you told me that I sound like a Bari and that I was too airy whilst singing that obvious Tenor song ! 😄

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  14. Hi ahmin! So is the way to determine if someones lower reister or head voice is better than anothers is through looking at their supported ranges? like do other factors have an imact in the decision of if a lower register or head voice is better than anothers? Thanks in advance!

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  15. Hi Ahmin, I’d like to ask you a question not related to K-pop. I’ve seen you helping a lot of people for free, and I’d like to know if any of these people that you’ve helped online improved by themselves? I know a girl who tried to improve by herself but she ended up giving up since she only watched youtube videos and there was no one to help her. I guess a lot of people give up too, right? Thank you in advance.

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    1. 0:15 ~ 0:42 the range is B3 ~ G#4, where she supports just fine. Her placement is fairly nasal and her diction closed, so she could sound a lot fuller and more opened. Her transitions into falsetto B4’s in the chorus as well as D5 are mostly fine, not 100% smooth but adequate. Again just falsetto, no head voice. 1:10 supported A4, not badly placed but again pushing in the throat. 1:30 1:34 1:37 these A4’s are nicer, more opened. 1:38 there’s support on the B4 but it could be much more opened. 1:54 pushed high larynx and tight D5, she can push with enough volume. 2:04 somewhat whiny B4’s. She has a lot of issues with openness.

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  16. Hi admins, can you give me some detailed thoughts on my recording? I’m kinda having a sore throat today and I find very few spots in my recording without nasal but I hope I can find out more about where to start improvement. Thanks a lot 😀

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      1. I mean okay. I’ll have to be very real with you. This is a very improper song choice to sing if you want to show me your singing voice and want to work on improving your vocals. This is not a sung song. It’s mostly rapped and spoken, so there’s barely much to say about your singing. This is a very narrow, limited range, I honestly don’t want to say what your voice type is just from this. I do hear very shallow improper breath support, your mixing isn’t very strong, your legato isn’t strong either. What’s happening is that you’re kind of half-singing, half-speaking your sung lines, I hear your tongue getting locked and tense in the back of your throat. You need to work from the basics, start from the beginning. I would suggest very simple vocal exercises, don’t try to sing songs yet, don’t even try difficult songs. Just sing something easy, basic and work on your basics. Breathing, pitch, opening and placement. Again I’m saying general things because there’s so much to be worked on, I’m not sure where to start and it’d be hard to work on this honestly on your own, I would suggest vocal lessons. Again not this song, this isn’t singing. This is mostly rapping and speaking, it’s not focused on singing at all.

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  17. Hi admin, I wanna ask something about this vid…..
    What note did jihyo hit at 0:50 (shi”PEO”), 1;17 (mal”GO”), 2:59-3:02, 3:09-3:11 and is it supported?
    Thank you ^^

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    1. Perrie is at least AV, since she’s capable of producing resonance until C#5? I’m not too familiar with Jade but I have noticed that she struggles at C5 and tends to use jaw vibrato.

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      1. Well, I’m not too familiar with her, anyway. This is just an assumption because I have seen a video where she sang a resonant C#5.

        Wait, I just checked a vocal rnage video. She can support a G3 up to C#5. D5 is shrilled and has too much chest. Higher than D#5, she projects her voice through her nose to maintain the forwardness. Nice F5, head voice. Not too sure with F#5, there’s too much reverb. G5 and higher are shrilled.

        At least AV seems to be the right one.

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      1. Well I don’t mean to be snarky and forgive me if I sound that way, but wouldn’t it make more sense to ask said fans instead of me, since I don’t share the same opinion as them? If it was based on technique and if it were true, I could explain but not only is it wrong, it’s an uneducated opinion not based on technique, but simply on subjective taste. Therefore I don’t know why they think that.

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      2. I’m actually answering the question why the fans are saying Rose is better than Jihyo .-. As I have observed with them, they are judging Jihyo as a member of TWICE, not as an individual. ._.

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      3. Sorry. I misunderstood. Next time please put it in the form of an answer to the question, cause it looks like you’re saying what you think.

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      4. Also, is there any founding behind people saying Jenny is a better vocal than Rose with the limited material there is, or is that just preference?

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      5. I think it’s preference and cause she’s louder. I don’t think it’s possible to be sure with the current material, they’re not very different vocally for now

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      6. Thank you so much for answering. I’m sorry if my questions were annoying or foolish. I do have a non K-pop related question though, if that’s all right. Where would Sarah Brightman, Sierra Boggess, and Emmy Rossum rank?

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      7. I don’t know them by name, I only know Sarah Brightman by name. Let me look them up. I don’t really know Sierra Boggess but Emmy Rossum, the girl from phantom of the opera, and Sarah Brightman aren’t contemporary vocalists. At least not in their usual repertoire. So because of that, they can’t be rated according to our criteria. Our criteria is for contemporary vocalists with contemporary technique, not classically trained vocalists who sing a classical repertoire.

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      8. Sierra also played Cristine, in counter to Ramin Karimloo. As I have observed, she has a nice lower range and head voice but she has a tendency to run out of air quickly and her melisma is not on point? But hey, the main theme of Phantom of the Opera is really hard. Imagine singing a bunch of high notes (F5 – E6, I believe).

        I really like her tone, though. Same with Ramin. I love their version of Phantom of the Opera.

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      9. Again this is still a K-pop unrelated question, so I’m not going to dig further because we’re busy with what we already have. I do apologize for that.

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  18. Hey 🙂 how much of singing is muscle memory? Like, let’s say that I’m a soprano that usually has a hard time hitting B4 without trouble. How possible would it be to hit B4 without strain if I continued to do vocal exercises regularly? (By regularly, I mean like 3-5 times a week)

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    1. Muscle memory is literally 90% of it at least. If you do the exercises properly that actually target taking down your bad vocal habits, it would be very possible. The exercises have to counter the bad habits, they can’t reinforce them though.

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  19. Can you do vocal analysis of INFINITE’s Dongwoo,Hoya & L?if you can give analysis, if not..it’s ok.
    thanks for your hardwork.

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    1. Please check our future analyses list and read our rules before making these sort of requests. I don’t take pleasure in saying “no” so it’s just easier if you read. We have rules, we only analyze half of the vocalists in a group and only the half with the best technique. We also only analyze vocalists with enough material and who have a considerable rating at least if they’re not a main/lead vocalist. So none of those members of Infinite will be analyzed. I am sorry.

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  20. LOL I just realized that the majority of male kpop singers can reach as high as the females XD. Like a ver large amount of males can sing up to about F#5 (or around this area) and that is where a large amount of females stop. Like sure there is Shannon Williams, Luna, Lina, Ann One, Sohyang and a couple others.

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    1. What made you wanna practice this song specifically? It’s a lot of high falsetto, you are pushing a lot. You have to sing this in a staccato Oo vowel, while making sure your jaw is dropped, your tongue is relaxed and that you aren’t closed. You could even use staccato bups while focusing the sound in your head, or using a bit of vocal fry to keep your vocal cords from separating and your sound from being too airy. You’re not stretching your vocal cords much, so the pitch isn’t consistent and you are really tight in the throat.

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      1. A friend requested it actually. For birthday gift or what. LOL. I know that I cannot do it.

        What is staccato bups? And how bad is my pitch? Did I somewhat hit some notes?

        By the way, can you suggest any pop song that I can practice? My comfortable range is F3 – D#4 until B4 for falsetto. It’s really hard to look for song that is not too high or too low for me >_<

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      2. Staccato means like separato, not smooth and connected legatos, but little pauses between each note and bup is literally the sound I want you to make. You were somewhat flat throughout but the notes are there, they’re just not being approached correctly. Why don’t you try All Of Me?

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      3. I know staccato. I just don’t get what is “staccato bups” nor how to do the bups sound? O.o

        OMG. Which reminds me, All of Me is not even hard. I just need to do the soulful sound.

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  21. Thank you so much for your work – this page is really awesome really awesome and it’s really cool and eye-opening to see my favorite Kpop artists from a very thorough and technical standpoint. Looking forward to your next one!

    BTW, can you skim through this girls’ cover of Gugudan Sejeong’s Flower Way? And please give a short/brief reply? Like, I’m really wondering why her singing is different from Sejeong? Compared to Sejeong, is this girl using more of a falsetto? She also seems to be using musicality like vocal runs and added dynamics. What is her tone like in this video?

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    1. This question is really different because this isn’t about a K-pop artist but your questions are very specific about technique. It’s hard to compare cause she uses a very strong vibrato throughout, her placement is a bit broadway like, as well as her diction. But she does use quite a bit of air as she gets higher, her vibrato is very present as well. Since this is English it’s very hard to compare, but her approach is a lot less pop than Sejeong, which might be what you’re perceiving as different.

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      1. Wow! Thank you so much for answering! If/when you have the time to, can you explain just a little more on how her placement might be different from Sejeong? ‘Cause while I thought both Sejeong and this girl are using head-mask placement, something about the head-dominated mix resonance sounds really different. If you could clarify this, if you’re okay with it, that would be amazing!

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      2. Well you see technique is universal but different styles have vocalists using different placements. Broadway singing is more vibrato heavy and more belty, notes are usually more phrased and sustained. Pop is lighter, a little less dramatic. Neither of them produce resonance at all throughout and I wouldn’t say that the other girl is supporting just as well as Sejeong, not with how much air she’s using.

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      3. Or is it because this girl sings more with a Broadway-like style vs the pop style? I think I was under the impression that there are a multitude of vocal styles/vocal colors, but vocal technique remains pretty universal…. but please correct me if I’m wrong. Is what I’m hearing purely a difference in vocal styles, and their technical approach is the same? Thank you so much for taking the time to read this btw.

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    1. I hear tongue tension in her head voice. 3:08 she loses a bit of support in her head voice around G#5, her placement is being hindered by her tongue tension. 3:27 C#6 to D#6, strained head voice. 3:21 G#5’s and Bb5’s in mixed voice, very gritty and throaty, but lightly mixed so they don’t sound AS rough.

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    1. As the other user pointed out, please post questions like this on Eunkwang’s analysis next time. Since more people ask about them so they can see the replies.
      0:19 C3’s 0:26 C3’s, that’s where support happened in his lower range. The rest of notes were A2’s with lack of clarity in tone and non-neutral larynx, no support. 0:39 head voice up to C5, good support. The run could’ve been a little cleaner, he rushed it. He has a couple of trills here and there like 0:54. The head voice is a bit mask-y in placement, which isn’t a bad thing. The dynamics throughout are pretty nice, he is supporting just fine throughout. He is transitioning well into his head voice, he is using it quite a lot actually. 2:04 resonance but it could’ve been more relaxed, A4. 2:01 he is moving his jaw a bit too much. 2:11 here too, the run wasn’t bad but there’s too much jaw movement. Most of what I’m hearing is within the E4 ~ G4 range, so he’s fine. 3:21 resonant F4 followed by a very well placed Bb4 then 3:24 C5 to C#5 high larynx. 3:27 the quick trill wasn’t bad, 3:31 not bad runs, but too much H, he is using too much air on his runs here. They could be smoother. The C5’s are strained throughout, 3:48 here as well. 3:43 that quick phrased Bb4 wasn’t bad either. Sometimes his Bb4’s have somewhat good placement. Good dynamics throughout, good control, good transitions, good supported head voice. Nothing new, perhaps a few moments of more consistent support in head voice and Bb4’s, that was interesting to hear.

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  22. Okay this is short and i’m sorry but i’m really curious about Sejeong’s technique because I love her voice. But i’ll try to answer instead of just asking for you to analyse it

    Okay she’s supporting fine, 0:43-0:45 I don’t know if it’s resonant but it’s well placed I think. I don’t know what to think about her vibrato, it sounds fast but i’m not sure if it’s overly fast. 1:12 another well placed(?) Bb4(?) 1:40 well placed again 2:07 well played A4(?) 3:16- 3:17 well placed. I don’t think the song is that hard for her but i’m mainly wondering about her vibrato if it’s bleating because of her technique or just naturally fast and it’s normal.

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    1. 0:43 not resonant, it could be much more opened. 1:12 Could be more opened and it’s A4, both of those were. 1:40 you are confusing chestiness for resonance, it’s chestier, so it carries more weight but I wouldn’t call it resonant. 2:07 was the most opened of them all. 3:16 she sounds like a less developed Ben here to be honest. Her C5’s throughout sound a bit too closed. Her vibrato is a bit too fast indeed, I’m not sure it’s natural.

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      1. Thank you for answering. If you do know any can you name any vocalists who have naturally fast vibratos. I’m just curious lol. I think Kyuhyun and Daehyun are some?

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  23. Oi Ahmin,você já viu este vídeo?Ele é bem recente,é do último show do I.O.I,tinha uma pessoa falando que a Yeunjung apenas gritou,não sei se é verdade.Enfim,tem como dizer como elas se saíram ?(pode responder em inglês,se preferir)

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    1. Nenhuma das duas tem suporte acima de C5, às vezes nem C5. A yeonjung é bem fechada na garganta quando ela canta mais agudo, no clímax os D5’s foram bem forçados. Os C5s podem ser bem mais abertos e menos tensos.

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