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. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing.

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 K-POP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise. 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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9,057 thoughts on “About & Our Criteria

    1. I’ll copy paste:
      “0:30 ~ 1:11 the lowest note he sang was Eb3 which is fairly high actually. He didn’t really sing in a low range at all. I’ve heard him singing lower before, I believe the lowest I’ve heard Seungkwan sing is G2 or so, so this is nothing actually compared to how much lower he’s sung already. 1:12 there was a quick Bb2 there, but it was kind of whispered and airy. Down to Eb3 he did just fine, he didn’t show any drop of support that didn’t seem to be partially stylistic. Eb3 does seem like the lowest he can support. Up to 2:00 in the chorus all he sang was up to G4, he seems a bit tired because there’s a slight rough crackly quality in his voice, but when it comes to support Eb3 ~ G4 is a known range for him of support. He sounds fine throughout up to the end of the second chorus at 3:04. The run right after that was a bit pitchy. 3:00 he was a bit too rough but the G4’s before that Eb4 were really nice, then 3:11 he hit G#4, and despite the closed vowel he did carry good support up there. The runs right after were more precise than the last one but he lacks the control. 3:41 He went from G4 to G#4, to Bb4 and then up to C5 in that portion where he closed his throat and showed more tension in his throat. From Eb3 ~ G#4 he did pretty well though. 4:32 he pushed his larynx down a bit there for that Eb3, so perhaps Eb3/E3 is where his support might end. I don’t hear anything new in this cover that I haven’t heard before, it’s the same Seungkwan which is good that he’s remaining consistent with opened well placed G4’s and supported G#4’s but no improvement thus far.”

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      1. Can I ask you if you can guess who is a better vocalist between Seventeen’s Seungkwan and NCT’s Taeil? I guess they are both above average or not?

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  1. Would you say Taeyeon’s D5s are getting more comfortable?

    Also if it’s not too much trouble, could you take a look at my singing? ˆˆ (otherwise, please feel free to decline)

    Thanks to the team for their efforts in maintaining this page!!

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    1. Sure when I have time I’ll respond after you post your video and yes they are. Although I feel that question would be relevant in Taeyeon’s analysis where I believe it’s been already answered.

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    1. Hi dear! It’s been such a long time since I last heard you! Oh you harmonized with your duet partner in this? That’s very nice. 1:25 ~1:35 a bit too nasal, try to drop your jaw more and keep your sound out more. Very nice stretch of the vocal cords in that portion though. 2:09 That F#4 was actually pretty nice, you aren’t pushing as much. In the first chorus you pushed a bit too much. 2:37 a bit too much, you sound so much like Baekhyun. 2:45 you started to push too hard, even though the placement wasn’t bad and had a good enough blend of mask and chest, you were pushing too much air and ended up coming off a bit too shouty. You don’t need as much effort to be powerful as you think, otherwise you did a very nice job throughout.

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      1. Aww, you still remember me… ❤
        Anw, thx a lot for the constructive comments again! It seems I still cant get rid of the nasalness, maybe since I dont know when it sounds one or not, because its just like me singing, going with the feel… hahaha…
        And yes, I learnt how to harmonized, and amazed by myself how can I do that eventhough i cant read musical notes at all…

        Aah, so it was F#4, do you know how many keys this version is downgraded? Ailee seems really relaxed singing that part… (yes, eventhough i know she is magical)

        So, the thing for me is just be headier when belting higher notes and less pushing? I tend to push alot, I dont know, habitual, because that way it makes my voice sounds darker and stronger imo… and do you think I mix better now? Thx aloottt

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      2. Of course I remember you, it’d be very hard for me to forget! It’s more interesting that you could blend with someone on a recording, someone you weren’t next to in person you know? I feel like Ailee sings either C5 or C#5 during that part, but I’m not sure. Not necessarily headier, but just rely less on using volume or the air pressure to create volume. You do seem to mix a bit better, the F#4’s seem more relaxed! Some were supported.

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  2. Thank you for taking your time to create these analyses. The only thing I would say is would you even think about including emotion in your analyses? I know most people feel that being able to evoke emotion in music isn’t anything to do with vocal skills, but I kind of feel it does? I suppose it is a tricky subject though because emotion is different based on the listener. I’ve read some of your analyses; you don’t seem to mention stamina which I feel is an important factor. I was wondering if you think it is or isn’t. I also feel as if you’re giving the singers slightly less credit than they deserve; the best singers on this website are classified as “great” and I feel like that’s a bit of an understatement… The singers you call average as well; I’m pretty sure they’re a lot better than the average person you hear at a hobby singing club, but perhaps you have high expectations.

    Anyway, even if you disagree or agree, thanks for these analyses! As an aspiring vocalist myself, I find these analyses helpful to look at similar vocalists and look at my weaknesses.

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    1. Hi there! I guess there are more than a couple of misunderstandings here that I need to clarify. Let me address them one by one. Well as you see emotion is a very subjective thing that we’ve added onto our analyses but we call it musicality. What I call emotionless, you might find to be very emotive and vice versa. I’ll be really honest, I do not ever feel emotion from anybody’s singing. I don’t hear a song and think “that singer has a lot of emotion.” Not once would that thought cross my mind. What I think of is “that song is very beautiful” or “the lyrics are very sad” or “the melody is very happy,” to me the “emotion” aspect is something that comes from the composition of the song itself, not the vocalist. Now that is my personal view on it and it can’t be right nor wrong, it’s just my personal view. This is exactly the problem with including emotion in a vocal analysis is, there’s no objective right answer. We can’t all perceive emotion the same way but we can perceive musicality the same way. Musicality is the way a vocalist manipulates their instrument, their phrasing, their dynamics, their voice’s texture, etc, to create different effects in a song. Now that we already address in our analyses, because it can be quantified and judged objectively.

      As for stamina, stamina isn’t directly related to vocal technique as much as it has to do with one’s health, one’s physical activities, one’s ability to dance and sing at the same. None of that fall under vocal technique directly, so it’s not something that needs to be mentioned unless it’s a huge problem in someone’s singing technique that needs to be looked into.

      As for giving vocalists less credit than they deserve, yet again a misunderstanding. We are not judging a vocalist and calling them average by comparing them to your average joe at a hobby singing club. We are comparing them to one another, we are calling them “average” by professionally trained vocalist standards. They’re not average compared to the average person, but instead to the average professionally trained vocalist. You know what average means right? It means the medium. Generally most people who are main/lead vocalists/soloists would be put in a system of ranking and the one where most people seem to fall on would logically be the “average” rating. If you look at our ratings, most of our vocalists are in the average rating. Now if we were to include the sub-vocalists of every group in this, then weak would turn into a huge average because 99.9% of sub vocalists would end up being rated as weak, or perhaps a few ones would be weak to average. But these standards are indeed high, but they’re high because they’re for trained vocalists. Which is why I refuse to rate people who are untrained. That’s why it’s important to go through our criteria thoroughly and understand all that it entails instead of taking the words great or average so literally. ^ ^

      I hope I was able to clarify all of your concerns.~ Also thank you very much for your support and kind words! I wish you the very best on your path to become a better vocalist. ^ ^

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  3. Hi Ahmin! This was uploaded recently. I can tell that Seungkwan has resonance/support here, but how did he do on the lower notes? How did he perform overall and did anything stand out?

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    1. I’ll copy paste:
      “0:30 ~ 1:11 the lowest note he sang was Eb3 which is fairly high actually. He didn’t really sing in a low range at all. I’ve heard him singing lower before, I believe the lowest I’ve heard Seungkwan sing is G2 or so, so this is nothing actually compared to how much lower he’s sung already. 1:12 there was a quick Bb2 there, but it was kind of whispered and airy. Down to Eb3 he did just fine, he didn’t show any drop of support that didn’t seem to be partially stylistic. Eb3 does seem like the lowest he can support. Up to 2:00 in the chorus all he sang was up to G4, he seems a bit tired because there’s a slight rough crackly quality in his voice, but when it comes to support Eb3 ~ G4 is a known range for him of support. He sounds fine throughout up to the end of the second chorus at 3:04. The run right after that was a bit pitchy. 3:00 he was a bit too rough but the G4’s before that Eb4 were really nice, then 3:11 he hit G#4, and despite the closed vowel he did carry good support up there. The runs right after were more precise than the last one but he lacks the control. 3:41 He went from G4 to G#4, to Bb4 and then up to C5 in that portion where he closed his throat and showed more tension in his throat. From Eb3 ~ G#4 he did pretty well though. 4:32 he pushed his larynx down a bit there for that Eb3, so perhaps Eb3/E3 is where his support might end. I don’t hear anything new in this cover that I haven’t heard before, it’s the same Seungkwan which is good that he’s remaining consistent with opened well placed G4’s and supported G#4’s but no improvement thus far.”

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      1. Then, would it be Eb3/E3-G4/G#4? So like Average to Above Average so far from quick analysis from that cover?

        I wish there’s something like this by DK lol

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  4. Can you check if my analyses on the four guys technique is correct? From 1:07 – 1:41 only lol

    1st guys: Nasal, bit closed. I think he is throaty
    Ramin Karinloo: Too chesty (he doesn’t sound froggy, unlike in his performance with Sierra), also raises his larynx as he goes higher. I think he is the most open among them
    Simon Bowman: Throaty, high larynx in higher notes and closed
    4th guy: Went from shrill with fake vibrato (on larynx, I think) to lowering his larynx

    I think the issue with them is they are faking their tone to present Erik’s characters, which is why they are singing with tension.

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    1. Oh I’m glad it’s only about 30 seconds long. I have no idea who Ramin Karinloo is lol nor Simon Bowman, I don’t know these people by name but I’ll just follow them in order. 1:18 1:22 I hear pushing of air, that comes out at the end of his notes when his vocal cords snap slightly. It’s just he is pushing too much. I disagree that the first guy is nasal or closed at all, or throaty. Slightly tense, very slightly maybe, but not any of the rest. These guys are all singing in a genre that’s a mix of opera and musical theater, and that’s a bit beyond my realm of comfort. We do not analyze classical singing, we are not a classical technique blog. 1:32 I’m not sure I like his vibrato. 1:36 This is the only guy who perhaps was raising his larynx more because his tone changed a lot in his lower range and the quality of sound wasn’t the same. Given that in classical singing, a low larynx position is what one needs to project, and it’s healthy. In contemporary singing it’s usually a lowered larynx with tongue and throat tension. They’re not the same thing. I must say I completely disagree with you but I am not sure if I’m right or wrong because this isn’t my realm. If they were singing strictly musical theater, I could do this. But with this song? I don’t think they’re faking their tones, nor are they nasal nor throaty. I do think Ramin is pushing and some of them seem to have a vibrato that’s partially forced. Aside from that, I think you’re hearing a lot of things that are not there.

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      1. Wait, so the technique in Musicals cannot be incorporate with Pop? so, that’s why I’m struggling to identify it as well because I learned everything I know in vocal pedagogy from this blog lol

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      2. No I didn’t say that. I said that opera technique cannot be compared to pop and phantom of the opera is not regular musical theater. Even then their singing wasn’t improper to me.

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  5. Hello! ^_^ I have been a fan of the site for years now but I’ve never posted any comments before. I know we aren’t allowed to ask questions about non-Kpop related singers, but I saw this man singing on the Korean singing show I Can See Your Voice and I think he’s got a really beautiful voice. He’s not a singer, he’s actually a cow vet! Could you give me an estimate of how good a singer he is and how well he performed the song? It’s a short clip

    He starts singing at 1:05. Thanks and keep up the good work!!

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    1. Oh hi there! Oh well technically it’s K-contemporary singing but it isn’t a vocalist we will analyze so I will be very brief. Full on disclaimer, this show tends to annoy me because they overreact a lot and then the vocalists are mostly high tenors who strain anything above F4 but can mix Eb5 so people love it and I’m like “No.” 1:12 lots of throat tension, he is squeezing his larynx with his swallowing muscles, he is fairly nasal too. He sings like a lot of K-pop singers from the 90’s like Shinhwa and H.O.T., who have good pitch and range, but no technique so they sing with a lot of tension and throatiness. He is just loud and is like good for someone untrained, but realistically he sings with a lot of tension throughout most of his range, his vibrato is wobbly as well. 2:27 Bb4, really strained. All his G4’s are strained, even his E4’s seem to be strained to an extent, or at least tense.

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    1. Two people have asked about this:

      “No, unfortunately I believe she’s singing exactly how she always sings. Too raspy, too disconnected, not enough stretch from her vocal cords and a high larynx on her mix voice above A4 in this specifically.” Also it is lip synched so not the best to judge. Hani never sounds terrible though.

      Like

  6. Thank you so much for replying ^__^ I understand more about the standards and ranking now, sorry for the misunderstanding. And yes, now I agree that “emotion” is a tricky topic because it’s subjective to the listener…

    Anyway, thanks again for all the nice words and for not getting mad because I’m so unknowledgeable aha >__>

    Like

    1. I’ll copy-paste~ ^ ^

      “Hi there! See unfortunately if they are labelled as rappers and considering that Day6 is more of a band than an idol group with everyone getting main and lead vocalist roles, we weren’t planning on analyzing anyone but Sungjin. Sungjin who is most likely to be their strongest vocalist is not going to be rated that high at all, which means that none of the other vocalists would be rated any higher and therefore there’s less of a chance for them to be analyzed. I have heard both of them singing before and they both have very nice tones, but they’re pure style. They have basically no sense of technique for singing, all they do is use style to sound airy, pretty, but not necessarily technically good. They are limited to the airy and pretty sound, but when they start to add more volume they start to add more tension and strain to their voices. Even when singing softly they show quite a bit of tension as well. They have very narrow ranges where they’re not tense, their harmonies are quite nice though. 0:15 see there’s too much air here, 0:24 here there’s too much pressure in his throat. (Put Your Records On) 0:54 throaty and flat, he sings with too much raspiness which is mostly stylistically and done by compressing his throat. These are both Young K and Jae right? Young K is a lot less tense but he also is pretty shallow. Again I can’t make any promises, I’m not even 100% sure Sungjin is their strongest vocalist so not 100% he will be analyzed.”

      Like

    1. She’s shouty in the fifth octave, doesn’t produce resonance and lacks support in the third octave. I won’t rate a vocalist without analyzing them.

      Like

  7. How well were Yuju’s high notes here. I’ll post time stamps.
    3:25-3:30 ; I hear a slight push?
    4:12-4:18
    4:27-4:40

    I think she sounds somewhat relaxed overall here, but the last high note at 4:35, there’s definitely air pressure, right?

    Like

    1. 3:23 ~ 3:30 B4 to A4 to Bb4, all resonant and then a jump up to Eb5. That wasn’t a slight push, that was just simply strained.
      4:12 ~ 4:18 strained Eb5 to E5, very pushed with a high larynx.
      4:27 Not unsupported, but the Oh vowel is really closing her throat on the C#5’s. 4:35 strained E5’s. It’s just air pressure, it’s strain, it’s a high larynx.

      Like

  8. Hi,

    Just wondering, between two untrained vocalists, if one played a musical instrument would they have an advantage in singing? And would this be obvious between any non-instrument players vs instrument players?

    Like

  9. Hello Ahmin , I know you don’t analysis non kpop artist but I saw a website says that Cristina aguilera support i around G4/G#4 and Selena Gomez to A4 , is that true ? I obviously don’t know but some of Selena A4 doesn’t seem to be supported also Christina I know she’s overrated but G#4 is too low

    Like

    1. I don’t know if it’s true because I haven’t analyzed them and I don’t keep up with them. Christina has strained A4, that’s all I know.

      Like

  10. Hello! I was wondering whether your ratings are equally spaced out, as in…the gap between Average to Above Average is equal to a gap between Proficient and Good? I notice that when listening to vocalists I hear a much larger difference in skill between a vocalist that’s Above Average and one that is Average, than let’s say…one that’s Above Average and the other Proficient? Is my perception entirely subjective, or is it perhaps due to something fundamental…resonance perhaps?

    Like

  11. Hey! First of all, thank you so much for your hardwork in making these analyses. 🙂 I’ve always thought about this and I’m very very sorry if I sound stupid but I was just wondering, to what extent do you think it is fair to judge/rate a vocalist’s skill and talent SOLELY based on technique? Could it not be possible to have an excellent vocalist who sings in their own style instead of following the set norm of ‘perfect’ technique? The thought first came to me during my tennis lessons – one of the strongest players in my class usually doesn’t focus too much on technique and sort of, idk, has her own style that she is comfortable in. And I think that despite the fact that she may not be hitting the racquet according to ‘perfect technique’, she is nonetheless, a very good player. So yeah, could the same be said about singing (since tennis and singing are quite different)? Couldn’t it be possible for some singers to be excellent without perfect technique? Some singers could just be unconventional in their style/technique, and not necessarily weak? Thank you ^__^

    Like

    1. It’s possible to be “excellent” within their own genre but then that becomes subjective and it depends on everyone’s style. The point isn’t perfect technique but to develop your voice to its fullest extent. Limiting yourself is not excellence, it’s settling. At least in singing. I mean not every great vocalist sings the same genre, so it’s possible to be great and stay within your style as well. There’s still a basis for singing, some things a vocalist should know how to do. One can be a weak vocalist but an excellent artist perhaps. At least that’s how I see it. A vocalist by definition is someone who has developed their instrument and their skill/ability as much as possible, to be an excellent vocalist, one must be skilled at using their instrument. Limiting yourself to a single style could make you an excellent artist, but not an excellent vocalist.

      Like

  12. Hey, I thought the note at 3:12 (Tiffany) was really good (at least for her) but I wanted to hear your opinion. Was it strained?

    Like

  13. Hi! May I know if I can request for you to analyze my singing? I really want to improve and I’ve watched a lot of videos about how to improve my singing, but the thing is I don’t really know what areas I need to improve in. All I know is that I tend to be off pitch sometimes when I’m running out of breath, and my singing tone isn’t that good. I was wondering if I could give you the link to one of my covers and get some advice on how to improve.

    Like

      1. I feel like perhaps you had a few issues with your pitch mostly because of who you were singing with. Fortunately or unfortunately this is a really narrow range. It’s relatively comfortable for you to sing so there’s no room for strain or issues with tension. The only thing I notice is you’re very airy and soft throughout, so you sound very disconnected throughout. This means you have yet to establish proper vocal stretch and support, so staying within this range is fine but you should aim to remain more connected and use a fuller approach. Don’t be so shy!

        Like

  14. Hi, I was just wondering if the high note I hit in the background here on “yet saengagil nasseo oh baby woah” is mixed voice and what I can do to make that part of my voice sound less nasal, shrill and overall grating? This is a weird way of placing my voice that I recently have found allows me to hit notes I can’t ordinarily hit, but it also sounds completely awful LOL. I’m not sure if it’s just me finally figuring out how to mix my voice – I tend to lean very chesty and have struggled with mixing on cue instead of mixing “accidentally” if that makes any sense; basically it’s not something I’m good at turning on or off.

    another example that’s easier to hear / less in the background is here on “dangjang nal deryeoga”. When I sing this way, notes above C5 come out more easily, but they sound even more horrible than when I force them in chest. =/

    Thanks!

    Like

    1. That’s all mixed yes. Well one way to stop it would be to sing with a more opened throat, slightly lowering your larynx to counter the current habit of raising it. Then you’d have to lift the soft palate to create a rounder sound and ease up on the air pressure. Try singing with a dopey Uh sound, where you push your larynx down just enough to keep the dopey feeling while keeping the jaw dropped and the vowel opened on Uh.

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    1. I have never heard him sing live but from studio songs that I know, I hear quite a few issues with his technique. Especially his runs and his mix above G4, but I don’t remember what E4 ~ G4 is like for him.

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    1. Not sure, it’s pushed and chesty. It’s not fully relaxed but it’s not as bad as the E5 at 1:33, which is sung with a high larynx. She sings like Carrie underwood. Please refrain from asking non Kpop related questions.

      Like

  15. I see your comment above “Given that in classical singing, a low larynx position is what one needs to project, and it’s healthy. In contemporary singing it’s usually a lowered larynx with tongue and throat tension”
    Low larynx in classical music is healthy? Can you explain more? I think low larynx cuts down on the vocal projection.

    Like

    1. On the contrary, a low larynx creates more space in the pharynx which allows the voice to resonate, but it also creates a much darker sound than the natural neutral larynx quality we are used to in contemporary music. Contemporary artists tend to push them their larynxes with throat tension and their tongues, which causes them to sound tense, muffled and closed.

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  16. https://youtu.be/K_wlWUtbyAY Sorry because it’s not a live performance. Nayeon used to sing this song on stage but she sang with her mother so we couldn’t hear her clearly. And what do you think about it? Does it better than what you have heard from Nayeon?

    Like

    1. Oh we heard her clearly when she sang it with her mom, she was really pitchy in that performance. I still hear the airiness, the placement issue with her placing in her nose and too low in her throat, and the shallow support. Since it’s a studio recording, she isn’t pitchy. 1:05 closed throat and nasal placement. 1:18 really whiny, the aye vowel closed her throat. 2:02 again closed throat on the A4’s. This isn’t really different from what I’ve heard of her so far.

      Like

  17. Hi there can I ask about this video of Lime and Yeoreum – Hello Venus, do you hear any support, or just strained. very short video hope you can watch it ahmin

    Like

    1. https://www.youtube.com/watch?v=4tBnF46ybZk Hey Ahmin, i was wondering if his note at 0:52 is an F4, im still training my ear for my pitch so I might be wrong, and is that kind of sound he has during that note what you refer to as nasal? cause it sounds different to me than his usual tone, and I’m guessing it was unsupported since in his analysis you wrote he only supports till E4/E#4 right?

      Like

      1. Actually you were pretty close but the note is actually F#4. I would refer to this as more whiny than nasal, because although the placement in the nose, the aye vowel makes him narrow the shape of his throat in the back which causes his sound to come out whiny in quality as opposed to just nasal. It is unsupported indeed.

        Like

      2. ahh i see thank you! I keep learning so much from this site:) another question about pitch, are the notes D.O.sings around 1:13 and 1:16 G4s? the “ohhh she WAAAnts me” “ohh she’s GAAAt me” the parts in caps haha, thank you

        Like

    2. I hear Lime pushing the sound of her throat into the back of her throat almost the whole time. Her sound isn’t very forward at all, she sounds really throaty the whole time. The audio has a weird quality to it actually…She did mix up to F5. It’s a mix of nasality and throatiness. Yeoreum is more forward, but she sings with a high larynx. The whole time she is just shouty with a high larynx. I’m not sure if I hear support from either, these videos aren’t 100% good for me to be sure but I wouldn’t say that I do so far.

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  18. Just wondering if you had any thoughts about the comparison of Mamamoo or Kiss&Cry in terms of vocal skill…? I know it’s sorta of hard to answer since Kiss&Cry debuted for such a short time, but if you had any just casual opinions, just wondering haha. Thanks!

    Like

  19. Hi there! I was wondering if I wanted to ask how my singing is, what would the best song to use be? I’m not really sure about my voice type. I can only get up to C5, if that’s the note I’m thinking of (the C above middle C), but I can barely reach down to E3. I’m a guy, btw. Thank you so much.

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  20. Hello! Could you give your opinion about my voice ? Because I don’t know my voice type and I’d like to know if I sing well lol. Also, could you tell me about the notes I hit in this cover, so I could partly know my range ? Btw I’m a guy and sorry for the bad quality.
    Thanks in advance

    http://vocaroo.com/i/s0bARn3r5UWk

    Like

    1. Hi Matteo, let me take a listen.

      This song has a very long intro… lol 0:48 that first note was E2. 1:00 another E2 there. You keep singing within the second octave throughout the verse, it’s like E2 ~ B2. The rest of the melody is really the same, but you sang an octave higher so you sang from E3 ~ B3. 1:26 The timing is really funky in this part, you’re not precise after this section and the lower octave with the higher octave sounds like two unsure voices, not one voice. Octave unison usually means you should sound like one voice. I can tell you’re a guy, you didn’t really have to tell me. lol You sound like an untrained baritone, and personally I wouldn’t recommend a song by Lorde for you to sing. She is kind of a lazy soprano or perhaps even a lazy mezzo, I’m not sure. She doesn’t really sing high, she barely sings very low but relatively speaking she chooses to stay within a narrow low range. When I give girl songs to baritones, I usually give higher songs because they would fit a baritone’s middle range better. For a girl E3 ~ B4 is a comfortable enough range, but for a baritone E2 ~ B3 is a very boring range because it just starts touching the beginning of your mix. It’s low, it’s too dark and it doesn’t shine in your voice the way it should. You are also fairly airy, I understand English is not your first language so you also have an accent that gets in the way of your diction but overall I’d recommend you doing vocal exercises that emphasize you connecting your sound, not whispering. You were whispering and you sounded very light and shy the whole time. Also your lower range and your upper octave singing…kind of sound like two different people and that’s very good either, you should aim to make the sound blend and if you have an octave unison, your 2nd octave is placed too low in your chest and you’re singing muffled, while the upper one is too light and lacks fullness. You need to find a sound that can accommodate both octaves.

      Like

  21. I found a site which tells that Liam Payne is the strongest vocalist of 1D, is that true? The site said that he is a baritone with a B+ rating. The site also said that he can support down to F#2 and says that he slightly pushed an E4 yet well projected and he have a clean,head-dominant C5 belt which I don’t know if its supported because its not pretty detailed. Can you kindly check it out.

    I’m so stressed about this because I can’t believe that its true or possibly not.
    Heres the link: http://www.criticofmusic.com/2016/03/vocal-range-and-profile-liam-payne.html

    Like

  22. hi admins, im really fascinated with vocal technique and i really had learned many things from the analyses but i still have questions like…

    1. are throatiness, throat tension, throat placement mean the same??
    2. is it possible to maintain an open vocal tract even when support is absent??
    3. does hyorin still have a stable larynx in the Eb5-F5 range after regression??
    4. does im taekyung have basic grasp of support in this vid https://www.youtube.com/watch?v=xWXhBbrceu4, and how did he approached the notes in 3:00, 3:57 and on the 2nd and 3rd choruses???

    sorry if i have many questions(and i forgot some questions lol), i’ve been a silent lurker for months ^^

    Like

    1. 1. Throatiness is a rough scratchy quality, throat tension is present when you’re throaty but having throat tension may not be enough to give you that quality. It depends on who’s using the terms. Throat placement usually just means a sound placed too low or too heavily, without support.
      2. I wouldn’t think so, no.
      3. No her larynx raises above D5, usually.
      4. 3:57 is strained, but in general I believe he has support.

      Like

  23. Look. I know you wrote analyses on both of them and I respect that, but seeing Baekho listed as an Average Vocalist while Leo is a weak one. . . Listening to both of them, it seems like Leo is obviously the more skilled and controlled, doing more as a whole. And not pitchy. I’m not picking and choosing clips here, but just comparing these:
    Leo: https://www.youtube.com/watch?v=nGekYM8NFtw
    Baekho: https://www.youtube.com/watch?v=uXIQ3WVhC54
    w/Nuest: https://www.youtube.com/watch?v=NZV9f38_8dg
    Shouldn’t Baekho be listed as a Weak Vocalist? He was also getting a little nasally and strained in the solo clip.
    While Leo is the lowest ranked out of all the male vocalists you’ve analyzed. . .

    Like

    1. Hi!
      Well let me see if I can target the right points. You said that you know we’ve written analyses for both of them, but reading your comment it makes me wonder: Did you read the analyses?

      My problem with your comment is just that you’ve provided videos, you’ve said what Baekho’s rating should be and how Leo is obviously more skilled, but you haven’t truly explained why. I know it’s hard to put things into words but I really would appreciate it if you explained how Baekho should be rated as “weak.” The thing is you’re right, Baekho can get a bit nasal, which isn’t necessarily unhealthy, and he does strain in the solo clip because he’s singing a song that’s got a lot of notes around the A4 ~ C5 range. It’s been established in his analysis that 1. Baekho has a chestier mix 2. He is able to sing with proper breath support 3. His supported range ends at F#4. With these facts we know that compared to Leo, Baekho’s mix is chesty so he has a less extensive mixed voice range simply because his approach to mixing is heavier which limits his range a bit by contrast. However what’s also established is that the most important thing for a vocalist is to have proper support. Proper support happens when a vocalist has the proper stretch of their vocal cords against the right amount of air on the vocal cords. The thing is you’re making seem like Baekho strained as if Leo doesn’t, but as we’ve established Baekho can support and unfortunately Leo can’t. You’re right, Baekho strains above F#4, so a lot of those notes in that song are surely done with improper technique which is why he’s average and nothing higher. He’s nasal at times, he can’t produce resonance, again another average vocalist trait. Leo on the other hand has no support, he is nasal, he is airy and he even strains E4’s which for a tenor is very low. That’s much lower than where Baekho strains, so comparatively Baekho is a much healthier vocalist. Leo always sounds strained, nasal and pushed even in a relatively lower range so.. I ask you, how is he “obviously the more skilled and controlled vocalist, doing more as a whole?” Could you be more specific? What about these clips makes Leo not weak or makes Baekho specifically weak?

      I hope you don’t feel attacked but I’m just trying to see if I can make you understand our analyses a bit better. Make sure to read both analyses attentively while also reading the criteria to understand that “strained” is too general since even great vocalists can strain somewhere in their range. It really depends where and why. Does this make sense? Please let me know if my explanation isn’t clear. I hope you take the time to read the analyses and let me know if you understand everything. ^ ^

      Like

    1. It’s been asked about:
      3:23 ~ 3:30 B4 to A4 to Bb4, all resonant and then a jump up to Eb5. That wasn’t a slight push, that was just simply strained.
      4:12 ~ 4:18 strained Eb5 to E5, very pushed with a high larynx.
      4:27 Not unsupported, but the Oh vowel is really closing her throat on the C#5’s. 4:35 strained E5’s. It’s just air pressure, it’s strain, it’s a high larynx.

      Like

  24. Hi! I just finished another cover and I was wondering if you could tell me your thoughts about my singing 🙂 (side note: I was sick when I recorded this and I do realize my pitch is pretty gross in some places lol)

    https://drive.google.com/file/d/0B_7ZjyPUP26GRXczaHcyZ01TTVE/view?usp=sharing

    I also have a few questions:
    -Do I support at all?
    -When I sing “‘Cause I just wanna free somebody,” in the chorus, am I using head voice?
    -Have I improved since my Come Back Home cover? (If you don’t remember it it’s fine lol)
    -Any tips overall?

    Thank you so much for all the hard work you all do for this website!!!

    Like

    1. Honestly I’d advise singing in English because the accent in Korean is making you sound really accented and it’s getting in the way of your singing. It sounds like you’re overenunciating and it isn’t flowing well. There is a degree of support and connection. 0:42 careful with those E5’s and don’t sing I-Ha-I. Come Back Home is a lot less challenging than this, this is work. I’d advise singing something you can understand so, also perhaps something a little lower and a little less upbeat. The pitch is generally good, the runs can be a bit messy so be careful. You’re using mixed voice the whole time, all those E5’s in the chorus are mixed. They are pushed and strained, but not that bad. Try to sing without being shouty, try to sing these E5’s with a light mix and then eventually add volume without just depending on the pushing to sing. This isn’t bad at all btw, it’s been a while since you sang for me, right?

      Like

      1. Yeah it has been a while. I translated 2NE1’s Lonely so I’ll probably record that next. I would sing more english songs, but there aren’t that many I like lol. I’d like to sing some songs by Sara Bareilles but there are always spots that are too low for me.

        Like

      2. I can hit the low notes in Sara’s songs, but they always sound so bad and rattly, or breathy. I always push my larynx down to reach them, but I know that’s bad. How do I improve on singing lower notes?

        Like

  25. I just commented but I forgot to ask another thing haha. Sorry. I just wanted to ask because I have an Alto range (according to the video F3-D5) but my voice is very “girly” and “light” just like IU. Is this possible or did I make a mistake while watching the vocal range video? I saw the voice types in one of your blog posts and I couldn’t find anything about being a “light alto”. Sorry for asking to much, I’m really interested in music but I have no knowledge of it. Thank you again! 🙂

    Like

  26. Junhoe from Ikon is a baritone right? Does he support his voice or not ? Who is better Jungkook or Junhoe? They are the main vocalists but they are not the strongest in their group.My last question is that Inseong and Rowoon from Sf9 are baritones too ? They are also the main vocals in their group.

    Like

    1. I don’t believe Junhoe supports at all or if he does, it’s very inconsistent. He’s a very rough, throaty and tense vocalist. I’m not sure about their voice types, I don’t remember hearing baritones in SF9, but Junhoe is definitely a baritone.

      Like

  27. Hey Ahmin! 🙂 Can you do an analysis on So Hyang’s performance here in King Of Masked Singer? She won and became the Queen, defeating Lee Haeri. She sung My Dear Love originally by The One. Thank you and Godbless!
    Here it is!

    Like

  28. I know you don’t do American vocalists but I was just wondering if you’ve ever heard of Sam Tsui? He’s one of my favourite YouTubers and I was wondering what the limit of his supported mix is. I think he supports fairly high? but maybe not into the 5th octave.

    https://www.youtube.com/watch?v=9x8JbUGZAT0 this is his vocal range video and just around 5:00 – 5:20 is where he starts going into A4 – C5 range.

    Like

    1. I’ll answer cause I’ll make it quick. B4 and C5 definitely strained. I hear inconsistencies with a high larynx even we low as G4. Some were supported, some were note. I’m not sure Id call the G#4’s supported nor the A4’s…

      Like

    1. It’s good that you’re using the ooh vowel to focus your sound, but you’re overexaggerating the air pressure amount that you’d need for this. Also you’re keeping the ooh vowel too tight while keeping your tongue in the way, which is closing and blocking your throat a LOT. You need to relax, drop your jaw and go softer while emphasizing more connection between your vocal cords.

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      1. Although I pushed, did I demonstrate some kind of support or connection? Also, is it a good foundation for further developing my head voice? Lastly, thank you for your fast replies! ☺

        Like

      2. It is a good foundation, the connection was there for sure but I wouldn’t call it a relaxed nor supported sound. Try to sing openly and softly.

        Like

      3. Yeah it’s a lot less closed and a lot clearer in tone production. You are pushing a bit, especially when the vibrato comes out but it’s better. Try to place the sound a bit more in the head and let it kind of ring more, without trying to push air.

        Like

  29. Hey Ahimin, I’ve been practicing adding weight to my falsetto,I feel like Ive managed to add some volume and weight but im not sure, and so I was wondering if this is a heady mix or just falsetto still, oh and maybe dont use headphones cause it sound pretty bad lol
    http://vocaroo.com/i/s1WBFOfiAT2o

    Like

    1. See, let’s start with a few things. You shouldn’t be aiming for any form of falsetto at all with this, you should aim for a head voice. Also adding H sounds and aspirating your way through this isn’t going to help at all. Use staccato sounds, don’t make it too connect. Divide the notes and sing with a G, like Goo Goo Goo, you were letting too much air out with My Heart, and you made your throat way too tight at the end and you do not need that much tension to give yourself some more weight. Don’t push, don’t strain yourself. Just learn to connect softly for now, don’t add weight when you can’t support your head voice yet.

      Like

      1. ah ok thanks Ahmin, tho i think i didnt specify sorry, im adding weight to what i called my falsetto voice cause Im pretty sure i still dont have a head voice, because i heard you write somewhere that that is a good way to learn to belt higher, to use a heady mix and than add weight, thats why i was asking if that was a heady mix or still just falsetto/head voice, because i still have a hard time differentiating, sorry and thank you again:)

        Like

      2. i’m also working on developing my headvoice tho so the tips still help a lot! my main focus this time tho is whether im succesfully adding some chest voice to my head voice

        Liked by 1 person

      3. so yea im still unsure lol was that headvoice or did i succed at adding some chest voice and making it a heady mix?

        Like

    1. We are active on social media, we have a facebook page linked here ON the blog. You could contact us through that if you’d prefer. I don’t notice any improvement from them yet. As for your exercises, when you got around G#2 you started projecting with a lot less airiness and it was better. Above that you’re soft, which is good, but you’re also too airy and soft does not mean airy. Try to sing with a stronger connection between your vocal cords. Your pitch is pretty good though, but you need to focus more on vocal stretch and connection. Don’t do the notes as quickly as you are right now, it’s okay to take your time and slow down the exercise to make the stretch is tight and strong. 1:58 that was a bit better connected. The higher you go, the more I hear “Ya-ha-ha-ha-ha-ha” all those Ha’s, all those H’s, they’re the airiness and lack of connection of your vocal cords, then as you went higher you pushed more. You did mix F#4, but the stretch needs to happen with a lot more precision and connection than this, much earlier in your range. Thank you for showing me the exercise, that helps ME help YOU a lot more.

      Like

      1. Thanks for the comment. So I guess I should redo the exercise right?
        And btw I did send my link to the page through Messenger about 10 days ago but I got no reply so I came here again…

        Like

  30. hi ,ahmin.
    1.How about Jung dong ha edition of《Mirotic》? could you analyize this arrangement ?
    2.How about 4:04 in 《Mirotic》?I heard it is G#5,but i m not sure this long note is head voice or Mix voice.

    Like

    1. If I may ask, why did you not post this comment on Jung Dongha’s analysis? Also why did you not post a video link? That would greatly help. Also I believe someone already asked about that song in his analysis, so if you looked at the analysis, you’d find the answer to your question.

      Like

  31. Okay this kinda complicated but I hope you’ll reply. So someone like yoona or yeri have been trained to sing just like Wendy or taeyeon but why aren’t they good at all. isn’t it a gift from god to have a voice like can they develop they’re singing and be like sohyang for example ? Or they can’t cause they have limit that why this website is about who is good and who is not as good. I know I tend to think a lot 😅 Also one thing, is support the most important thing for vocalist to be higher cause hyorin support F#3 and mixed D5 falsetto G#5 have agility and yet she’s still under taeyeon so support didn’t help her much but U.ji is higher cause she support really great low notes ???

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    1. We don’t know that they have been trained to sing as well as Wendy nor Taeyeon. We didn’t follow up on their training, we don’t know the process of how they practiced, we don’t know if they received the same exact training either. Also Taeyeon and Wendy already had more than the basics of technique down when they became trainees, both could support and occasionally produce resonance even before they were trained under SM. Yeri and Yoona didn’t have the basics down, so if they DID receive the same training, perhaps the training isn’t good to focus on basic technique and learning to support and only works to develop vocalists who can already do the basics. Falsetto G#5? That’s not supported, it’s falsetto and so it can’t be supported. Her falsetto is throaty, and her D5’s are also quite inconsistent when sustained, Taeyeon doesn’t have that problem. The only thing Hyorin has over Taeyeon is a little bit better of a lower range, whereas Taeyeon has a better and healthier mixed voice and a much more developed head voice. So yes support is still important, but I think you might fully understand what support means if you’re going to list her falsetto up to G#5 as a strength for Hyorin.

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  32. hello,
    could you talk about vowel? so many vocalist didn’t have a good performance in vowel
    (unsupported). how did vowel cause any problem? how to fix it in singing?
    i just remember you said some vowel change to throat shape. could you talk more detail about vowel?

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    1. Vowel shapes are part of what helps vocalists sing better. When you sing like you speak, your vowel shapes can be very strict and very tight. When we sing, we aim to make the change from one vowel shape to the other very minimal, while keeping the throat as opened as possible. Some people struggle with keeping all their vowels opened, especially as they sing higher and so the shape of the vowel causes their throats to close. It’s important to keep the larynx neutral, tongue forward, soft palate lifted and the swallowing muscles relaxed. So although some people can sing a note well on the vowel Ah, they might create tension on the same note if they sing it on Aye. So the point is to bring the shape of Ah from the back of the throat into Aye, as much as possible, to open up the throat. (For example.)

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  33. Hi Ahmin,

    Most tenors and Sopranos hit their highest supported range with an open vowel sounds like AAA or OOO right? Do you know of any singers that you have analyzed in this blog that managed to hit supported high notes (prob around C5 or above for tenors and Eb5 for sopranos) that attacked it with closed vowels sound like EEE or UUU something like that?

    Also does it present a different challenge from the technical point-of-view? or is it just the same?

    Thanks.

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    1. Ee and Oo are harder to sing in a louder, more powerful mixed voice. However off of the top of my head, I can’t remember vocalists who are particularly good at belting in those vowels.

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