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 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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7,633 thoughts on “About & Our Criteria

  1. I don’t know where is appropriate to leave this comment I leave it here. Just to let you know that if suddenly there are people hating here that could be because of some recent stupid fuss on youtube. I’m a little worried that people using your analyses to back up themselves while making fan wars would bring hate to this blog and you guys. And you guys definitely don’t deserve hate.
    I bet you’ve seen situations like this before but I’m also sure you guys are more loved than hated. Thank you for your knid and hard work!

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    1. What are you talking about? Don’t worry about it. We don’t usually get direct hate, people who talk bad about us aren’t brave enough to say it to our face because they do it out of spite and because their bias isn’t being praised to heavens like they want it to. It’s a common thing, I’m sure it happens a lot and we can’t help it if some people hate us.

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  2. Is there anything vocalists in general can do to improve their vocal stamina? I mean beside singing less in their uncomfortable range.

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      1. Hey Admin sorry I really don’t know where to post my comment .. I just want to ask you something. Can every person with a good vocal trainning become a good vocalist or it is necessary to have talent or accent or something else like that to be one. Sorry for bothering you again

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      2. Yes that is true. Everyone has the ability to become good if they practice good and healthy vocal technique.

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    1. They’re both pushed with just the right chest placement and enough support that Id still call them supported, but it’s like borderline support where the pushing is starting to take over the support.

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    1. Why do you think that?
      “0:07 those F3’s could be chestier. 0:22 The C3 had tone, not as well supported as it could be. 0:33 whispered F3, he was being too stylistic. 0:52 nice dynamics. 1:01 those E3’s were better, more forward. 1:08 ~ 1:13 nice portion of the song, nice harmonies right after. Nice E4’s. 1:27 G#4’s, whoever is doing the upper harmony there is tight and pushing too much, they’re sharp. 1:32 Too tight up from G#4 ~ C#5 in this section, then there was a tight high larynx D#5 at 1:46 but nice harmonies overall, very nice. I don’t really know who is who. I’m guessing Taeil is the one doing the higher mix. 2:03 pitchy runs.”
      The time stamps might not match.

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      1. In the industry no one really cares about low notes , it’ s all about high notes. So I think that baritones have an advantage because they are born with a lower tessitura .They have more comfort and ease to hit lower notes and it’s more difficult to hit those notes for a tenor or a woman.Like I said we live in an era where singing higher is more appealing than singing lower . For example , a lot of famous singers with a big vocal range are baritone like Prince , Freddie Mercury ,Elvis Prestley , David Bowie , Axl Rose , Tom Jones ,Ken Tamplin. And in Kpop, you can that Sungjae of Btob, V , J hope and Rap monster of bts , Key. They all have a bigger range than the tenors in their own groups. You also have a pretty big range , bigger than most tenor in Kpop. I hope I was clear .

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      2. David Bowie didn’t have a large range nor good technique. Well at least technique he didn’t. I don’t think Freddie Mercury was a baritone, nor was Elvis Presley. Their ranges are about as wide as tenors, so I’m not sure I get how they’d be wiser necessarily. There are plenty of tenors with ranges just as large as these baritones though. The largest range on this blog belongs to a tenor. I mean do you mean with head voice too?

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    1. I know who it is now, it’s an old response. lol Again it’s not always the case, it’s just for some odd reason more baritones in K-pop than you’d expect keep singing notes in the sixth octave.

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      1. Yes I agree . It seems like Taeil has good lower range .I have a last question if you don’t mind. Can heavy smoking change someone voice type?

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  3. What are the differences between the ioi main vocalists (sejung, yeonjung) and Twice Jihyo? People say she’s the most mediocre of the three and that the other two are “significantly better” because of her range and support but i dont think so. Isn’t she fairly consistent with her support compared to the other two?

    This is one of the better vocalists in produce 101, i think. what do u think about his performance?

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    1. They’re not very far apart but I am not going to answer a question comparing vocalists. They are literally all able to support up to B4 at most, all three of them. Yeonjung just screams higher so people think she has good technique, but shouting with a tight throat and a high larynx isn’t singing well, same thing for Sejung. None of them do well in the 5th octave, none of them have head voices or at least consistent ones and none of them have very developed lower ranges. They’re not very different vocalists at all.

      Copy-pasting the video answer:
      “The range is quite limited, he doesn’t go very low at all and he has support within a comfortable range, 1:07 falsetto 1:13 F#4 1:18 G4 there is support, but he is pushing and using too much chestiness without relying enough on his vocal cords, because of that he is kind of flat. He has decent technique, which compared to most other males in that program is a lot, but on a bigger picture it’s not very impressive to be somewhat pushed and flat on a G4 as a tenor.”

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      1. Do you hear anything different in this video? I think I hear some support from him, but nothing more than that. How was the run on 2:24? And were the notes on 1:46 supported or just louder?

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      2. He sounds better with the connection between his vocal cords and support. Up to F#4 he is doing really well, even the A4 wasn’t so bad. 2:24 much less opened of an A4, bad vowel shape and the run was really sloppy.

        Liked by 1 person

      3. This is more of a vocal performance than the other two videos, is there possibly any resonance or support on the upper notes? I hear vibration at the end, is it possible to have vibration even if you have no support?

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  4. hi ahmin can you tell me how did they do here? who did well and whatnot?

    also is there a way to backtrack my comments cause i cant find mine anymore and i posted here early in the year :/

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    1. I found your comment, it’s from like April 4th. You don’t have to backtrack, it’s fine. I’ll be very honest, Produce 101 be it the girl or the guy season doesn’t have any vocalists who actually produce resonance except for like maybe Kim Juna and the highest rated vocalist out of the show would be average to above average at most, so I don’t find much fun in answering Produce 101 questions. So I’ll be brief. Choi Mingi is Ren, Dongho is Baekho. Ren is a shallow vocalist who doesn’t support, Baekho has been analyzed. 1:18 A4 throaty. 1:28 B4 throaty. Daewhi and Sewoon may be able to support to an extent, but it’s shallow for Sewoon. 1:50 throaty A4. The harmonized F#4 that Sewoon hit wasn’t very clean either. 2:09 other throaty B4’s, 2:15 D5 again all in his throat. With a strained B4 from Sewoon. Baekho supports, Ren doesn’t really. Sewoon is kind of shallow and Daewhi is also slightly shallow. This didn’t show any changes for Baekho’s technique and none of them can sing with proper healthy technique above F4/F#4, so all those high notes logically be strained from now on if you hear them sing above F#4, I wouldn’t expect support.

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  5. Hey me again sorry to bother but is there a way to like get these kinds of questions and comments on a separate page? I love reading through these but it’s such a hassle having to load all the text from the original post again and again and I even say it’s labeled ‘thoughts on about & our criteria’ which I don’t really see much. This is probably on the lower priorities of things but I just thought it would be a bit more convenient? idk sorry to bother >.<

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      1. maybe like a page where all the questions and comments come into one for general queries? Cause I notice how some people post questions in two different pages. Also a way that allows us to search for comments so we don’t have to repeat ourselves (I notice a lot of people posting the same videos inc me). But then again that’s probably not needed for a blog like this cause you guys just analyse vocals. Your work is great though ^^

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    1. Jinwoo is really tight in the throaty, Yehyun is airy and shallow. Sungri places his sound higher, but also sounds throaty. Their harmonies are pretty, but individually I’m not hearing proper support from any of them. They have pretty voices, but they all sing in their throats. Sungri I guess has the best placement and the least tension/shallowness.

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      1. Brighter by contrast with the other guys who are more in the lower resonators like the chest and the back of the throat without any of the more mask-y resonators.

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  6. Someone said Whitney Houston strains in her prime, which makes me wondering if it’s true or just she’s just hating.
    I know that she doesn’t all the time support her upper belts, does that mean she srains when she hits them? Whitney stays a lot on mid belts so it’s hard to tell.. And i think she doesn’t strain in her prime also what year did she started staining? i read some claims that it’s around 1995.

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    1. Please don’t use words like “bad” when describing someone’s singing. We here on this blog avoid words that are so vague and negative. There’s a difference between incorrect and bad or unhealthy and bad. 0:11 kind of pitchy on the run. There is a lot of tension and nasality from the beginning, mainly from singing with the aye vowel. She is really nasal throughout. 0:22 a bit too shouty. Up to G#4 the tension is kind of on and off.

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  7. As a matter of interest, Other than Yuju’s resonant F5, are there any other big one time flukes like supported/resonant notes WAY (like there’s a gap of support between the fluke and normal highest supported range) out of their normal supported range from any vocalists?

    Also, would it be reasonable to say that Yuju is regressing –> I feel like she is not as opened as before and almost just isn’t as focused on her singing anymore (going flat, straining etc) especially if u consider that all her best videos are from the start of 2015.

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    1. I don’t know any other such noticeable gaps. Yuju regressing? I think that’s overthinking it, but she hasn’t been analyzed. She’s not even like 20 yet is she?

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      1. You’re right, she is still 19 now
        I think Yuju is better because sh3 can support more C#5s

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  8. Hi Ahmin,

    I sent you a recording of a whistle note a little while back. I was wondering if you have any tips on how to train the whistle register. Thanks!

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    1. Honestly it’s not anything different than any other register except it’s like holding your breath and pushing as little air as possible.

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      1. My throat tends to hurt even if I only use it for a little bit, so I feel like I’m doing it very wrong lol. It doesn’t hurt while I’m doing it but afterwards I can feel a slight soreness. Do you have any idea why it might hurt? Idk if you can find the previous recording but i can send another one if that can help.

        I guess for the whistle register, I wonder if it’s something that some people just have and just don’t. I can make sounds in it (since you confirmed the sounds i made last time were whistle tones), but I feel like I won’t ever be able to train it so it’s usable. I notice Mariah tends to use lip rolls to warmup her whistle register. I use the r tongue roll instead because I can’t lip roll. But even with the r tongue roll, I can’t do it with the whistle register, and I think it’s because I make the sound doing a weird throat shape.

        Anyway, thanks for the advice!

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      2. Well if it hurts then you’re probably doing something wrong but I don’t really have one, so I can’t help you much unfortunately. R tongue roll should be just as effective as a lip trill. If you can’t sing a note while lip trilling, it means you’re using throat tension when you sing that note usually.

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      3. Just popping in with my two cents:
        I discovered I had access to whistle a year and a half ago (I don’t think it’s as common in men, but every woman should be able to learn how to) That said, there is not a lot of documented information on how it works since the epiglottis closes over the larynx as it happens. On a good day I can extend to A6 but I’ve randomly hit (not musical) notes in the seventh octave.

        Generally on days when I don’t have access to this register, the rest of my range is usually not doing well also, so it can serve as a ‘test’ so to speak of how my voice is doing on a particular day.

        Andrew – Why do you want to learn how to use it, may I ask? I personally started developing it because I wanted to add more interesting things to my music, as well as to be able to sing repertoire of artists who use it frequently like Mariah, Debelah Morgan, and so on. A lot of people I find just want to extend to whistle for the heck of it or to show off and it is not usually productive. It’s these people who I think don’t care as much about technique than about trying to do something, like I said, to ‘show off’. Since you actually want to train it, I don’t think you are this type of person, but like I said, it’s hard to train unless you find a teacher who uses it themselves and has their own reason for using it imo.

        If you are experiencing discomfort of any kind, it’s being produced in an unhealthy way. Tension of any kind is what singers try to avoid – in the tongue, jaw, throat. Ahmin’s video on support touches on this iirc.

        As far as training, I personally tried strengthening my head voice in the A5-C#6 area on the “ooh” vowel. Do scales that ascend around E5 to D6 (women can go higher naturally). Never try to force a note out, the goal isn’t volume but quality and finding the muscle coordination. When you’re singing this high all vowels tend to narrow to an “ooh”. If you try to sing on a wider vowel the note will probably fail or could you do damage, etc. Do the lip trills also, although i don’t think the lip trills will directly help whistle register but more for head voice. I visualize (with little air and air pressure, think of how you take a breath) the vocal cords forming almost a “pinhole” opening while keeping everything relaxed. You’ll learn the muscle memory for accessing certain notes eventually and they should feel different than notes an octave lower. Sometimes falsetto to whistle transitions can help you find a better connection, but I’d say chest to whistle is harder until/unless you are able to mix chest and head really well and have a solid understanding of your voice.

        Did some octave transitions here not too long ago in the context of songs – G#4-G#6, F#4-F#6, and D4-D6 https://app.box.com/s/8e32w9xg9rzhofgge7a4xzilfw8xvxb0

        Good luck!

        Like

  9. Is very current JoJo Great to Excellent ? I mean C3 – E5/F5 – Bb5/B5
    Or is she Excellent already with those supported F5s nowadays ?

    Like

    1. I don’t know. She is not a K-pop vocalist, we haven’t analyzed so I can’t give a full analysis for her to be sure.

      Like

      1. I have some annoying question for you, but still hope you can answer that

        did the G4 ( 2:23 ) have supported?

        also the G4 ( 3:30 ) here?

        and A4 ( 1:23 )
        thank you so much

        Like

      2. Your first link works. The G4’s don’t seem bad and the A4 isn’t too shouty either. The problem is the laryngeal vibrato.

        Like

  10. She’s not K-pop, but I’m desperate. 😦 I’m having a hard time telling if she’s soprano or Mezzo. her technique has flaws but she seems to sing with ease and she seems to understand her limits. Her voice to me is definitely lyric.

    Like

    1. Please do not ask about non-kpop vocalists again, it is not a fruitful use of our time since we will never analyze them. I’ll only answer cause it’s a voice type question. She sounds like a Soprano with a relatively shouty balanced mix on C5 and above. I don’t hear why you wouldn’t be sure that she’s a soprano, she doesn’t have any kind of signs of sounding like a mezzo at all.

      Like

    1. My problem with you guys singing songs in Korean is that since you aren’t Korean, I am not sure how well you speak Korean and so because of that, an accent and worrying about pronunciation can really get in the way of your singing. Like for you, you kind of separate the words too much by syllable, it lacks flow that someone who speaks the language would have. What I have to say is that you sound like a girl who tends to sing guy songs, so you’ve developed a chest voice but you haven’t really developed much of the rest of your voice. I’d suggest singing songs in a higher key, in a female key. Right now you’ve taught yourself to sing kind of like a guy but you’re like mixing Bb4’s when you go for the part where Taeyang would go into falsetto. You need to engage a better understanding of breath support and connection of the vocal cords, as well as brightening up your placement in certain areas of your voice. I am very glad that you are not a breathy vocalist at all, that helps a lot. Your connection is clean and I like that a lot. I am not entirely sure what your voice type is, but I would guess you’re a soprano who taught herself to sing like a tenor. Your voice is nice, it’s not unpleasant. Your singing is a bit choppy in Korean, in general I think you need to maybe watch vocal tips #8, work on singing songs in a key that matches your voice and in a language that you speak fluently.

      Like

  11. Is it true that vocal fry can be used as a vocal therapy? 😮 I’ve been looking into vocal fry, and I’ve been getting mixed reviews about it :s

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  12. Hey admins 🙂 how can you tell if your own jaw is dropped enough? I’ve been told that I have a pretty small jaw, so I’m not sure if I drop it enough… Like, should it be dropped to the point where you can fit 2 fingers between your teeth? 😮

    Like

    1. I wouldn’t go by the number of fingers you fit in your mouth. Instead I try looking in the mirror, do you try singing while watching yourself in the mirror?

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  13. I just came by to simply thank you for helping me with my BA thesis! Haha, it may sound weird, but let me explain. Thanks to all the information you provide about voice and vocal here, I am able to better grasp the idea of using voice as an instrument. My thesis talks about conversation analysis and voice and the way one modulates it is an important piece! I managed to write quite an impressive analysis according to my major advisor, so thank you a lot! 🙂

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    1. Wow I can’t say I am not flattered to hear that! I hope for your and our sake that you get an A! lolol Great job by the way and thank you!

      Like

    1. You’re losing projection in the lower notes (A2). Your vowels aren’t opened enough. Heart, not hurt. You’re overpronouncing your R’s. You are also a bit too breathy, especially in the chorus. Your timing was slightly behind the beat too, sometimes during the verse. Your pitch was pretty nice. When you sing world don’t hold the A3 on the R consonant, hold it on O and don’t even pronounce the R.

      Like

      1. Hi. It’s me again. Thank you for spending some of your time hearing my audio. I struggled on that area too, over pronouncing those Rs and had a feeling something was off. Am I still far from getting a grasp of support or even shallow support? And how was my larynx through out? I have this bad habit to raise my larynx from A3 – D4 range. Thank you.

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      2. No, not that far actually. This was relatively relaxed, but since you are too breathy, your vocal cords don’t connect fully just yet and then the placement isn’t forward enough and you lose projection. The larynx wasn’t too bad, you were mostly actually keeping the sound light without straining your voice much within the A3 ~ D4 range.

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      3. ” you were mostly actually keeping the sound light without straining your voice much within the A3 ~ D4 range.” Hi. I’m bit confused what do you mean in this part? Sorry. English isn’t my primary language. Thank you. 🙂

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      4. Im saying that you were worried about straining with a high larynx but I didn’t notice issues like that.

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  14. 2:11 How did the main vocal, Jaehwan do in this video? Were those high notes strained? I know Hyunbin and Minhyun are considered weak, but what do you think of Sung woon and Jisung?

    Like

      1. 0:40 – 0:53 Would you say Jisung is supporting, even a little?
        0:56- 1:08 and 1:20 What is the general range here and is Jaehwan supporting? I know you said he can support like up to F#4 and somewhat A4 but I think this range is somewhat high for him?

        Like

  15. Hey ahmin,

    I have an interesting question for you. I know that vocal techniques can be trained, but from what I had read, the timbre (voice color) of a person can’t be changed.

    I think for me, I can try to sing well but I hate my “timbre” or “voice color”, it sounds really immature and I don’t know what kind of song would suit me.

    This actually raises another interesting question, do you think that someone with an unpleasant timbre but excellent vocal technique can be successful as a singer?

    I think a good example is Taeyang of Bigbang, he is a weak-average vocalist yet, people love his timbre (voice color) and how well it fits in the BigBang songs despite his poorer technique.

    Love to hear back from you!
    Sara

    Like

    1. Well arguably your timbre can be modified. When you place your voice in your throat, nose, mask, chest or head it creates different qualities. Also breathiness and such, a high larynx, all those things essentially change the tone quality of someone’s voice. So you can change your tone as your technique develops as well. I don’t think it’s possible to have an unpleasant tone but excellent technique. You might find someone’s voice bland, but for someone to have an unpleasant tone? I can’t say I feel that way about anybody who can support their voices.

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      1. Hey Admin,

        I understand what you mean, I had tried placing my voice through my chest and mask and the quality of the sound did change from when I originally started singing. However, I can still her my “timbre” and I hated it, it just sounds I guess what you would call “bland” and immature to me. I would much prefer to hear Taeyeon’s singing voice as I like ballads, but for me I think my voice doesn’t hit her songs well. :/ It kind of makes me hate my timbre more

        Like

      2. actually, do you mind listening to a recording of me singing innocence – avril lavigne? maybe that will help you assess my timbre and vocal technique better:

        http://www.karao.ky/record/cybCK

        my apologies for the background noise, I kind of sing it in the basement :/

        what advice would you suggest for me if I want a deeper more mature voice? (kind of like taeyeon’s?)

        Like

      3. You’re actually not that high pitch-voiced at all. There are many issues that I’m hearing with your diction, your vowels are all very close and you bring the sound out from the top of the back of your throat, close to where your neck and jaw meet. That causes you to sound small, tight and since you’re not opening your throat, there’s less space for resonance, less space for a fuller and more mature tone. So with technique, you can also improve your sense of pitch since you tend to be often flat. There’s too much pushing from your throat and a lot of nasality being placed. So your timbre isn’t a problem, your technique is.

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      4. I think I sounded high pitched, and it’s not even using head voice… its only mixed..so I am very worried if it is even possible for me to have a deeper voice like Lee Hi or Taeyeon :/

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      5. Really? Okay, in that case I will try improving my technique then, but would you say that I am a light lyric soprano?

        Which registrar is better to start first for me?

        Thank you for your help!

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      6. I would guess you’re a soprano yeah. I think you should sing songs within the A3 ~ C5 range like part of your world or strong enough.

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      7. Thank you!

        Apologies for so many questions, but where should I place my voice for this song (Avril – Innocence) instead of at the top of my throat? Is it through chest, mask or a mixture of both?

        Thank you again!

        Like

    2. Okay, what’s the best way for you to show me? I can give you my skype id or is there any other way?

      I really want to know what I did wrong in my vowels. I just listened back to that singing but I still can’t tell where did the vowel went wrong, is this linked to support and proper projection? Sorry maybe I am tone deaf :/ but I can’t seem to hear it D:

      Like

      1. I would have to literally emulate the way you sing, then show you how I want you to sound and then have you try and copy the difference. A skype ID, that’d have to be an official lesson then if you’d like. I’ll do a quick audio before I get back to what I have to do.
        http://vocaroo.com/i/s06ayo5UImxw

        Like

      2. Thank you so much for the audio response!! It does make more sense now that you point out the specific parts. I think I am going to replay the audio tips as there are still some parts that I can’t tell as throaty. Maybe I am tone deaf o.o but it is hard for me to hear the difference between a flat note being hit and a full note.

        But nonetheless, thank you very much for the help!

        Like

      3. Well you’re tone deaf at all, if you were you wouldn’t be able to sing even the shadow of a melody like you did but pitch recognition takes time to be developed.

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      4. I never realize how hard it is to sing. Do you have any clue on average, how long it takes for a person to reach average, proficient, good, great, and excellent vocalist? If they practice daily?

        Btw, when you mean that I sound flat, does that mean I am 1 semitone below the note that I am supposed to hit? Like if I was going to hit B4, I hit Bb4 instead? Like hitting the black key instead of the white key on a piano?

        Thank you again!

        Like

      5. It really depends on each person. It depends on how you practice, where you start, how quickly it is for you to grasp new concepts. On your own it would take a lot longer than with help, that I can assure you. Not necessarily, there is a frequency of a note. When you’re flat, you may be actually a 1/4 of a semitone below the actual pitch of the note which is not quite Bb, but is still not quite B either.

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      6. Hey Ahmin,

        I am wondering on about your tip on using “ba ba ba” to hit the note instead of actually singing the lyrics and dropping my jaw more so that I open up more.

        I am facing a trouble where, “ba ba ba” kind of close my lip while I try to make the pronunciation and also with other words, but at the same time, how do I drop my jaw? also I noticed, it is much harder to project through the mask when you drop the jaw as opposed to it being more closed.

        Any tips for this issue?

        Thank you so much again!

        Sara

        Like

      7. What do you mean closing your lip while trying to make the pronunciation? Have you tried singing while looking at your reflection in the mirror? Harder to place it in the mask? Whys that? I’d have to hear you, I can’t really guess what you’re doing wrong.

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      8. These are two different songs, right? Or like the verse and a chorus of a song? I can’t really tell what songs you’re singing. I am not sure I understand your question about projecting through your chest but if I’m understanding this right, you want to have a thicker chestier quality, right? To project through your chest properly you must first establish a good and strong sense of support, where you know how to use your vocal cords in a healthy way no matter what kind of volume you sing in. The problem is most people jump straight to chesty belting and so they end up sounding throaty and pushed. You must first learn to sing lightly and establish good stretch and connect and then gradually add volume, while also developing the chest voice muscles. In your case, I hear the sound being stuck in your throat and you’re far too loud and too thick. You’re not allowing your sound to move up as you ascend in range and then there is the air pressure being pushed. On top of that, so much air coming through the vocal cords, ESPECIALLY on the second audio. That one is very pushed with a lot of airiness coming through. You need to first learn to sing lightly without so much pressure and establish better connection.

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      9. It’s still stuck in my throat? T.T I thought I felt air pumping near my cheeks, I thought that was how you project through your mask. Now, I am lost, how do you do it properly?

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      10. In the higher one, it was bright actually. The second audio, but there was far too much air pressure. Again your problem isn’t your voice, it’s the way you use it. It’s the bad vocal habits.

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      11. I think my objective is more of getting rid of my timbre (that I believe sounds weird/too high) so that’s why I am looking at chest voice. But, if it turns out my chest voice is even weirder with my timbre, I might not like it… Is there a way to find out which (chest, mix, head) works best for my timbre?

        Like

      12. The second clip you sent, it wasn’t chesty, it was bright but pushed, loud and full of air coming through.

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      13. Bright means the placement. Compare the way Ailee places her voice to the way Eunji places her voice.

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      14. Thank you for the help!

        I am thinking, would you like to be my vocal coach? I would like to take weekly lessons with you to better develop my voice.

        Like

      15. Sounds great, you can send me the details for the lesson via email: sara168818@hotmail.com

        I will send you my skype id there and maybe we can schedule for something next week. I don’t know if you can tell from my recording but I am kind of sick and congested lol

        Like

    1. Woojin sounds like he is singing with brightness, but it’s in his throat. It’s all pushed. He sounds like a child, he is far too young to be trying to sing like an adult. As for Samuel, I don’t think judging lip synching is a very good method to talk about his singing but the rhythmic bounce wasn’t bad.

      Like

  16. Hi,
    I didn’t manage to do the exercises but I worked on a cover so I thought it’d be more interesting to analyse my singing in this one and then suggest me what to focus on especially that the first cover wasn’t good.
    Again, sorry if the quality is bad…
    Song is “If it’s you” (Rosé’s song in KOMS) and here’s the link : http://vocaroo.com/i/s1s9lWsIpXQY
    Thank you ^^

    Like

    1. I really would rather hear you singing the exercises so I can hear how you practice better. There’s quite a bit of a nasality throughout this, a bit too much breathiness in the mid range but the lower range isn’t so bad. This key is her key, I would say for you it’s way too low. The right key for your voice would be at least three notes higher. I am actually more interested in listening to you singing exercises than a song. A song will only keep reviving your bad habits, if you sing exercises we can actually address your issues with proper technique. If you just always sing songs, it’s hard to change anything if I can’t really fix you, live as you do it. You could sing higher than you think, you keep choosing songs that don’t go above B3.

      Like

  17. hi guys, what do you think about Yangpa? K-audiences seem give her the same appreciation as some legend artist such as Bada, Ock Joo Hyun, Sohyang,etc. my friend said she is competent to good due to consistent support in Eb5s. However what i see from her is kinda weird.
    for example, in this performance https://www.youtube.com/watch?v=rEGg4_ggsNo
    , her voice sounds nasal (resembling BoA?),
    at 2:43 moving inward, a little bit muffled from the start
    again at 3:10, 3:34, 3:58
    although there’s some moments her high notes are round and full .
    am i crazy? i just feel she supports the higher note then loses support the lower one.

    btw i actually don’t like her unbalanced status .might be girly heady or too gritty chesty, but never be balanced.

    Like

    1. Yeah you know I love Yangpa dearly with all my heart but she is not the same when it comes to vocal technique. She has a lot of glottal and tongue tension and quite frankly I’ve never heard her resonate. But why don’t we wait for her analysis to be sure? 2:43 those are C5’s and C#5’s all in her throat.

      Like

  18. Hi, quick question. Would you say Rose’s voice sounding wobbly/shaky is because of her vibrato? And does she have issues with her legato like Bom did?

    Like

    1. Not as many issues with vibrato, but let me rephrase your question. Instead of her shakiness being because of her vibrato, the question should be “what causes Rosé’s vibrato to be so shaky?” Because yes, her shakiness is because her vibrato is shaky and her vibrato is shaky because her vocal cords lack a steady airflow and stability, so they don’t vibrate naturally and end up kind of losing the control of speed.

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  19. Dear ahmin, I have a few questions:
    1. Do you know what is acuto sfogatto soprano?
    2. What’s the difference between run and riff? Or they both the same?
    3. How’s MC G#5 here? I think it’s a little bit squeezed

    Thank you!

    Like

    1. 1. I don’t know actually.
      2. They’re the same thing, although usually a run is usually for voices and at times a riff can also refer to an instrument, namely a guitar.
      3. You know we don’t listen to videos about vocalists we will never analyzed. If the question is about someone we will never analyze, please provide the time stamp if it’s just for one note. 0:37 that G#5 actually sounded really well placed to me.

      Like

      1. In my music theory class, we actually learned the minor difference. A riff is usually added to music, like a style or flair aspect. A run on the other hand, is part of the music. So like when you hear a cover and it has “runs” that weren’t in the original, those are riffs. A kpop example of runs are the ones in SHINees Romeo +Juliette the first one is from 1:26-1:31ish). And you can hear riffing in exo’s cloud 9 (1:31-1:40)
        Hope I was helpful!

        Like

  20. So, i’ve been practicing your support exercise for a while now, and in the E3-D4 it seems a lot more connected and cleaner than before, but for some reason i can’t go higher than that in the register used in the support exercise. I mean, i do go as high as E5 but is purely mix head and has no weight at all. Do you have any thoughts on how to overcome this?

    Like

    1. It’s hard to resist the temptation to switch to head voice once it starts to get too high for you. So you’re saying that above D4, you tend to go into head voice? Cause if so, then really keep it between the C4 ~ F4 range and focus managing the mixing, so that you don’t go into head voice.

      Like

      1. Yeah, it’s more likely a mixed head voice. not as light as a head voice though. I’ll keep practicing the C4-F4 and try to put some chest to it little by little. Anyway, thanks for your time.
        Another question, though I’m not sure i should be asking since I don’t think Suzy is up for avaluation. Is she a weak vocalist?

        Like

      2. Do you perhaps mean a mask placed head voice? Because I would still say that’s the head voice register. I would really rather not rate a vocalist without analyzing them, but we have an analysis on Min, who’s rated as weak to average, and we have an explanation about the other members’ technique in that analysis as well. Since Min is their strongest vocalist, I will leave it up to you to guess where the other would be rated as I would like to not rate anybody without an analysis.

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  21. Sorry if I seem a little dense when I ask this but sometimes these things blur in my head and its hard for me to notice the differences.
    What are the key differences in being able to tell when someone has a forward projection and when they’re just being nasal? I feel like sometimes when I hear people sing they can sound forward but I’m not quite sure if they’re being nasal as well.
    I assume lack of resonance is a way to tell if someone is being nasal? Do you believe there’s a point where singing can become too forward? or if they’re supporting and producing resonance that shouldn’t be an issue?

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  22. Hello! I’ve come across this recently uploaded video of J-Min (from SM Ent.) and she’s doing some vocal warm-ups and stuff from 0:46 to 1:15, and a mic test from 2:14 to 2:32. Is there anything of note here? Thank you in advance!

    Like

    1. She is being a bit too aggressive with her vocal warm ups. She’s pressing her vocal cords too harshly and using a really pushy approach. She lacks proper support so she pushes from her throat. 2:14 it’s a lot more relaxed, she gets throaty and shouty when trying to add more volume.

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  23. Who do you remember for being the most chesties and headies mix ever both in kpop or western?

    And is it me or it’s the most common problem in Average to Above Average category for the singers who is being like inconsistent in their mix and/or also who get the problem most with nasality? Like Daesung, Jessica, Seohyun, BoA and some.

    Actually i have the last one but i forgot so yeah it’s ok lol

    Like

    1. That’s a really really specific question lol I am not sure I can remember. I think it’s kind of a pattern yes. Chestiest? I don’t know, Sandeul? Headiest? I don’t know, Eunji?

      Like

  24. Hi! Just asking but can a 12 year old be able to have vocal lessons early on? I mean Idk my voice type yet lol

    Like

    1. I’ve taught from ages 4 or 5 to people in their 60’s. You’re never too old nor too young to start vocal lessons. But if you haven’t gone through puberty, your voice type is called treble. Voice types are assigned to adult voices, not children. Children have all a generally similar range and voice type prior to puberty.

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  25. Hey Ahmin,

    I am wondering how do you project through your chest? Because I asked another vocal instructor, and he told me that chest voice is from between the lowest part of the throat and upper chest. But I think you said I sounded throaty with that, so how do you project through your chest properly?

    Like

    1. It’s been asked quite a bit. Differently from Mamamoo, they often sing above G#4 and harmonize a lot. I know one of them can support G4, I don’t know about G#4 nor resonance since they’re either straining to sing like sopranos or harmonizing.

      Like

  26. i know that’s fairly uncomfortable to ask you about western singer in this blog but can you answer my only one question?
    They say Lea Michele is a great vocalist with ability to support consistently up to G5 in mixed voice.
    are they right?
    honestly, this statement really blows my mind. i don’t know if her vocal technique is that great.

    Like

      1. I asked the question earlier since I am not sure to say that her Eb5 is supported. Some says she supposedly to be in SNSD as a lead vocal. I noticed that she’s taking the risk belting in her songs higher than Jessica.

        1. Are you familiar with her vocal technique?
        2. Does she have an agile voice with consistency?

        Thank you very much.

        Like

      2. She has issues with consistency in agility. She also has issues with throatiness in her mix, which is often too heady and unbalanced and not relaxed above C#5.

        Like

  27. If you’re familiar enough with Michael Buble, I was wondering if he can consistently produce resonance (cause I saw him in a video as an example of someone producing resonance) and if he has a wide supported range?

    My personal thoughts on him are that he pushes and strains a lot especially when he’s trying to keep his jazzy, cool tone, but there are occasional moments of support and resonance when he belts. I’m not sure how accurate this is, but I hope there’s some truth to it.

    Like

  28. Hi ahmin.

    I’m pretty sure you won’t analyze Somi from IOI/JYP, but I’ve always wondered what her vocal type is. She said her voice is very loud and tbh it kinda is ( maybe because it’s easily distinguishable ). Could she be a full lyric ?. Also is Kim Juna a mezzo ? Her voice sounds heavy.
    I’ve heard that you can’t always tell a person’s vocal type solely based on their range. Does anyone come to your mind when talking about vocal range suitable for a particular vocal type but he/she has a different vocal type instead? ( eg a lyric soprano with a mezzo range , a lyric tenor with a baritone range ).

    I hope that doesn’t sound confusing. English is not my first language. It’s not even my second lol.

    Like

    1. I’m not an admin but I think you’re talking about the range where a vocalist usually sing in and one’s actual vocal range is usually wider than that. Most of the time it’s mezzos and baritones that are confused to be sopranos and tenors because singing high is more favored than singing in a middle or low range. SHINee Key is an example who is a baritone but often sings in a range for tenors, considering his high notes in Everybody. But let’s wait for Ahmin’s answer.

      Like

    2. She is a light lyric soprano, her voice is not that low. Juna is a chesty soprano, that’s all. Your English is perfectly fine and well I suppose there are some sopranos who havent mixed very high like Bom, Minzy or Soyeon. Or arguable tenors like Jay Park, whose technique is so underdeveloped that voice typing him is actually kind of tricky as he could be a baritone.

      Like

  29. I have a question, are there any vocalists in particular ( don’t have to be Kpop idols ) who have mastered supporting high notes/producing resonance? I mean, Barbra Streisand is one example but are there any vocalists who have particularly impressed you?

    Like

      1. Well, I meant singers who often have good breath support and barely ever sound thin or shrill, those who often produce consistent resonance.

        Like

      2. I mean I see you’ve read many analyses. Yeah we have the vocalists rated great or higher. There are others like Jojo or Beyoncé.

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  30. Hi ~~ I’m back with my exercising: https://drive.google.com/open?id=0B1QYUGguxLGVM19TNUkzZjFYUmM
    I tried singing softer but I’m not sure if it’s airy or not, and I notice myself getting throatier and raspier as mixing higher, so I only peaked at somewhere much lower than usual.
    Oh and an irrelevant question, can a vocalist’s vocal health be predicted by looking into their technique? For instance I feel like Ailee’s voice may regress sooner than Luna even if she has better ranking because of her over chestiness, what do you think about that?
    And what note for baritone could be as high as A4 for tenors? I just went to karaoke yesterday and I’ve realized that I had to struggle with whatever song I choose because most of songs for karaoke singing are upbeat ones by tenors so I had to mix a lot of A4 and probably some A#4. I did try to use falsetto and head voice but it just doesn’t fit the upbeat vibe plus my throat get hoarse after mixing so high that my head voice just came out cracking and flat. Do you plan to make tips for using head voice soon?

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    1. Around 2:58-ish you were a bit flat, and when you started dipping really low you start to push a bit of vocal fry into your chest voice and you should relax more and not make the sound so dark. The tongue tension is a lot less present and you’re a lot more relaxed, I can hear what you mean with the airiness so good thing you stopped earlier, so work on the range as high as you went on this audio, don’t go higher. I want you to really focus on this range before going any higher, focus on singing lighter and connected, really don’t let your voice get louder when you start going higher cause for the last two you were starting to get too loud, too shouty/chesty.

      Yes and no. Their vocal habits will tell you how their voice may become damaged but we can’t be sure of when because everyone’s voice is different and people respond to abuse differently. When I sing soprano songs, I raise them by 3 semitones. When I sing a tenor song, I put it down by 4 semitones. So I’d make an A4 before an F4 for me. I do plan on a head voice video soon!

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  31. I have a question: how do you dig up and paste an answer from a long time ago when people ask a question that’s already been asked? I feel like it takes a really long time to find anything when you have to fish through all these comments.

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    1. The WordPress admin page allows me to look up comments by searching up keywords. So it’s actually easy on my computer, I usually look up the link of the video.

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      1. Ahhh, that makes sense. All those questions would be even worse to answer if you didn’t have that. On that note, could you do me a favor? I remember you analyzed a pre-debut video by A.C.E a few months ago and I was wondering if I could see that since they just debuted and I grew interested in them since their voices sound pretty nice.

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      2. Sure thing took me 20 seconds. lol

        “0:18 He is not singing high nor in a challenging range, but he is a bit too nasal. 0:32 that aye vowel was a bit too closed in his throat. 0:39 he is using the most amount of stretch on his vocal cords and he’s the most opened in placement. 0:49 he’s really nasal. 0:56 a bit too much air pressure on the F4. 1:02 F4’s are a bit too closed and tight. 1:11 too much throat. 1:12 he is not as tight as the other guy on the F4’s, but still pretty pushed afterwards. They’re only singing like F4’s and G4’s. 1:35 His G4’s aren’t that bad, he has support and is the one using his throat the least throughout. He seems to be the only one who doesn’t lean towards the weak spectrum. 2:13 oh my god is he a rapper? Well he does use his throat but not as much as the others. 2:39 too much throat, they’re pushing too much. The girls of Blackpink do it too, they shouldn’t copy them. 2:51 same thing here. This song didn’t really do much for them, let’s wait for their debut and see what they show us, shall we? ^ ^”

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      3. Thanks. It seems from your comments that the one with at least some support is Chan, who is in fact the main vocalist (alongside Donghun on the far right, but you said he’s nasal).

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  32. Can you please give the notes that the two guys hit at the end .Don’t worry , it’s a short video.https://www.youtube.com/watch?v=rqo-FjEcDns and what do you think about their performance on this radio show https://www.youtube.com/watch?v=iuxLBz7T78Q. I know that you already answered about them in their live performances but I am curious because they were vocal coachs for famous idols. They are also pretty old for a debut group .Their leader was born in 1989 then others were born in the early 90s.

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    1. 0:50 They both hit D6 one after the other, neither of them went higher than that after that.
      Next time please tell me their names so I know whom I’m listening to, so that I can decide whom to analyze in the future. 0:54 the vowel isn’t very opened, he is kind of not fully relaxed when singing. This is the first time I hear them singing not high and alone for this long. 1:07 again not very opened. 1:09 high larynx A4 and Bb4, not supported up there. Who were they vocal coaches for? I wasn’t aware of that at all. 2:28 he seems to be the least opened of them all, he squeezes his throat the most. 2:33 There’s support around F4 and some G4. 2:42 too much pushing and a laryngeal vibrato on the G4. 2:50 This guy he is very tight throughout that line from F4 ~ Bb4, I heard tightness throughout. 2:55 really shouty A4. 3:05 G4 ~ Bb4 ~ C5, even the G4 was somewhat pushed, everything else was strained. 3:20 tight Bb4. Again 3:33 this one guy is really in his throat. 3:35 He has very nice hair. LOL 3:40 he does some similar things to Park Hyoshin, I feel like he is trying to emulate him a bit too much on how he enunciates. See I already knew none of these guys could support above G#4 but I just didn’t know if G4/G#4 could be supported, or produced with resonance for any of them. 3:48 G#4 Oh I hear too much pushing and throat tension, they lack the openness that Mamamoo has actually. I don’t believe any of them produce resonance, at least I haven’t heard it yet.

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      1. First of all , thank you very much .So the guy at 0.54 is Hyunkyu and he recorded guide tracks for vixx and kwill and he also sang the chorus for them.The guy who sound like Park hyo Shin is the leader and the main vocalist. His name is Janghyun The funny thing about him is that he recorded guides for Park hyo shin , SG Wannabe and Kwill too. He was also a contestant in Superstar k3. The guy who squeeze his troat he most is Hyunseok .He’s the maknae and a vocalist , he recorded guide for 2AM and for Soyou & JunggiGo.The last one with nice hair lol is Chandong , he is also a vocalist. Well for him , we don’t have a lot of informotions.

        Liked by 1 person

  33. Well, I am not know sure about that but my girlfriend in Korea heard that on of them train Vixx .But I am sure they were vocal coach because they did speak about it

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  34. hey Ahmin, would you mind explaining the difference between vocals runs and melismatic singing? Also, what’s coloratura technique? o.O Thanks ^__^

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    1. I wouldn’t say there’s a difference. Coloratura technique is ..like in classical singing, singing with embellishments, runs, throughout a relatively wide range.

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  35. hello,
    can you analyze quickly yuju’s performance during her parts

    1) 16:55 – 17:10

    2) 17:38 – 17:52

    3) 18:00 – 18:20

    link: https://www.youtube.com/watch?v=zHLQzaJ9xCM

    so yesterday they sang this and halfway through the song the music stopped. but they continued singing so making the performance completely live .
    its a song that i really love by gfriend. it’s called “Rain in the springtime”

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    1. 16:55 ~ 17:10 there were two C5’s where she was not fully opening her vowels, they were on the Oh vowels at 16:59 and at 17:05, she was also slightly nasal but that happens to her often. Occasional nasality.
      17:38 ~ 17:52 She was slightly breathy. 17:51 tense C5 but that’s because of the Aye vowel, she, like many vocalists, has issues with being opened on that vowel.
      18:00 ~ 18:20 D5’s in the beginning, tight and again the nasality going back and forth. It’s like she overplaces the sound when she tries to be in the mask and goes back and forth between mask and nose. Pretty song.

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