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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8,181 thoughts on “About & Our Criteria

  1. Was he straining from 2:05 to 2:20? Also, how were his high notes towards the end of the song? I really like seongri but I think this might not have been the best song choice .

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  2. Hmmm… Is it Jessie J can be a good example for good control of runs and well develope muscle? I found some of her runs really fast/complex enough and i found it hard try to sing like how the way she is in runs. And do you have any tips for training a vocal runs? *i hope you haven’t discuss it here before about training a runs hehe

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    1. She does have pretty good like muscle coordination, although I’m not entirely sure about the pitch. I know she separates the notes well but the precision is something I can’t account for. Runs? Try watching Breaking Down the Riffs by Natalie Weiss.

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    1. She’s damaged her vocal cords with unhealthy technique, as well as smoking, drinking, etc. I don’t know how long she’d need to recover, because I don’t know her condition.

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    1. This is a very general question, could you be more specific? They’re doing as well as they usually do, no support above F4 for any of them, the usual headiness and lack of support for YoungK, usual throatiness for the rest.

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  3. Could you please make a short analysis on this performance? I’m addicted to it, It’s so good for an young vocalist, in my opinion.

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    1. 2:27 Pitchy .. and everything above F#4 is tight, whiny, heady and strained. It’s really underwhelming in terms of fullness and projection because of how heady and tight he gets the higher he sings.

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      1. (I’m not an admin, but they’ve answered plenty a Twice question) Don’t forget Jungyeon and Nayeon. Though neither of theirs isn’t as consistent and clean as Jihyo’s, they’ve both developed some degree of it.

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  4. Is it possible if a singer have higher support in mix that in head voice? I mean for just an example like G3-D5-C5. Just kinda curious tho bcs so far it’s between they can’t produce, they can’t support/consistent well enough, or the head voice is higher.

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  5. Would you say his singing is still completely shallow or did he develop a better sense of support?

    Sorry I forgot I had another question, in here he sounds more relaxed since it seems to be in a more comfortable range, but he sounds nasally. Despite placing his voice in his nose usually, would you say he supports?

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    1. I’d say Ren is less tense but much thinner, lighter and shallower than the other guy. They both sound shallow, but I hear more tongue tension from the second guy. Ren sounds shallow and in his throat but lighter. I wouldn’t say either of them gave developed proper support yet.

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    1. Since literally 5 people have asked about this cover of LOSER so far, I’m just going to watch it, break it down and copy-paste it for each person. There’s some pattern I’m noticing where people are calling Jisoo a better vocalist than Rosé based on this performance and I’d like to know who’s spreading this lie because one person mentioned someone else said that and I wanna know who and where and why. Cause are you asking a question or making a statement? Cause no, I do not think Jisoo has the healthiest technique in Blackpink and after this video, you’ll see why I stand by my point that she does not have the best technique in the group.

      0:06 G4 down to whispered A3’s, the melody then goes up to Ab4 at 0:10 then descends down to G3’s. The range of the chorus is basically this G3 ~ Ab4 range, where Rosé has no support in the third octave and is whispering all her low notes without allowing her vocal cords to connect. 0:10 and 0:21 0:24 those Ab4’s are the highest notes in the chorus of the song and there’s no true strain for Rosé, it’s not a note that’s too high for her. She sounds mostly relaxed, her placement is mostly in her nose and her sense of support isn’t strong but this isn’t a challenging range for her and she is using adequate technique to get through the chorus. Her pitch is fine, her placement is nasal and her support is shallow but somewhat present.

      0:49 Jisoo starts singing but she has a lot more breathiness and air escaping her vocal cords, so she overcompensates by compressing her throat muscles a lot more than Rosé. She is singing in a relatively similar range as Rosé, staying within Bb3 ~ Ab4, but she is a lot more closed than Rosé. There is absolutely no breath support being employed when she sings, it’s just throat tension and nasality. She also went flat quite a few times, 0:51 0:58 1:02 where she went up to G4 and Ab4. I wouldn’t say Jisoo can handle singing as high as Rosé, which isn’t high at all for a female, with an approach that’s as relaxed. She’s a lot more closed and I wouldn’t call her G4’s nor Ab4’s relaxed. There isn’t even shallow support, there is no support whatsoever.

      1:55 Rosé also went flat here and at 2:02, and although she is pushing with air more so than she needs to, it’s kind of part of her style. It’s not ideal, but she’s at least more relaxed. 2:14 Lisa sings, there is no support but she is sacrificing a lot less of her health for the sake of style. 2:44 still quite flat for Jisoo, no support whatsoever, her throat is pretty closed. 2:55 Rosé was also flat, not as much but still flat. This song isn’t challenging for any of them, singing like this for Rosé isn’t ideal but it’s not going to hurt her because the range of this song was G3 ~ Bb4, which is slightly over an octave. It’s not a challenging range at all. 3:10 pitchy runs and adlibs for Jisoo, too much air coming through her vocal cords. 3:29 Jennie is a lot more opened than Jisoo and Rosé cause she doesn’t place her sound straight through her nose, but she pushes a lot without supporting and kind of half sing-raps, so honestly there’s no huge gap between her or Rosé, but the difference between them and Jisoo is quite clear.

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  6. Hi! I am back, finally after all those exams and preparing my thesis. I got the highest grade, that’s crazy! Just thought I should brag about it here, since I used some of the theory about voice from you. Thank you for providing all this information, I feel way more confident in listening to music as a critic. Can I be a vocal instructor now, hahah?
    I wanted to ask about something – can you produce resonance in your lower register? I am not sure if I’ve seen someone asking about this, so I thought I’d speak up. 🙂
    Have a good day!

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    1. Oh I’m glad! And yeah you can but the resonance in the lower range is less common and less necessary in pop music so we are not too strict about it.

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      1. Oh, that’s cool! Do you think you could get me an example of someone performing resonance in lower register? I would like to know how it sounds.

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  7. Hi Ahmin 👋, I hope you’re doing good! Also, Happy Fourth of July! I wasn’t doing anything a while ago so I recorded myself doing some low notes.
    For these two, I made two recording because I think that on the second one (C), I went sharp(flat??) on the last note compared to the first clip. Also, can you tell me what not I lower my larynx or lose my support and projection on these descending scales? — https://drive.google.com/open?id=0ByHYyC5Tee2AYlVFdnBMQnRjUVk
    https://drive.google.com/open?id=0ByHYyC5Tee2AcmRGVVdmamN3emM
    I think on this other recording, I obviously lowered my larynx and support but I’m just going to wait for your judgement (Lol 😂)
    Also, on these last two clips, I just want to know if I did these in head voice and if they are supported and resonant( I think they’re not) — https://drive.google.com/open?id=0ByHYyC5Tee2Ad01Ec3dzNVhoN3c
    https://drive.google.com/open?id=0ByHYyC5Tee2AZnNWZHJudl9zanM

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    1. Well Happy Fourth to you too! ❤

      Watch out for your tongue position, to me it sounds like it's going back ever so slightly but it's somewhat blocking the sound. Also careful with the air coming through the vocal cords. I would say I hear a tilt down around G#2, with too much vocal fry below that. Second one I definitely hear more tongue tension. (C that is) The lowest note was E2 for both, you really need to watch out for your tongue and the breathiness, it becomes more obvious the higher you go.

      G#5, but why are you singing so high? It's too loud, you're barely using the stretch of the vocal cords. Instead you're relying almost entirely on pushing the sound out with air pressure. The second one is better, but the larynx isn't very neutral. It sounds like it's moving up, are you trying to become a countertenor? lol They're not resonant nor supported, but they're connected head voice. You're just pushing way too hard with air pressure.

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    1. Since literally 5 people have asked about this cover of LOSER so far, I’m just going to watch it, break it down and copy-paste it for each person. There’s some pattern I’m noticing where people are calling Jisoo a better vocalist than Rosé based on this performance and I’d like to know who’s spreading this lie because one person mentioned someone else said that and I wanna know who and where and why.

      0:06 G4 down to whispered A3’s, the melody then goes up to Ab4 at 0:10 then descends down to G3’s. The range of the chorus is basically this G3 ~ Ab4 range, where Rosé has no support in the third octave and is whispering all her low notes without allowing her vocal cords to connect. 0:10 and 0:21 0:24 those Ab4’s are the highest notes in the chorus of the song and there’s no true strain for Rosé, it’s not a note that’s too high for her. She sounds mostly relaxed, her placement is mostly in her nose and her sense of support isn’t strong but this isn’t a challenging range for her and she is using adequate technique to get through the chorus. Her pitch is fine, her placement is nasal and her support is shallow but somewhat present.

      0:49 Jisoo starts singing but she has a lot more breathiness and air escaping her vocal cords, so she overcompensates by compressing her throat muscles a lot more than Rosé. She is singing in a relatively similar range as Rosé, staying within Bb3 ~ Ab4, but she is a lot more closed than Rosé. There is absolutely no breath support being employed when she sings, it’s just throat tension and nasality. She also went flat quite a few times, 0:51 0:58 1:02 where she went up to G4 and Ab4. I wouldn’t say Jisoo can handle singing as high as Rosé, which isn’t high at all for a female, with an approach that’s as relaxed. She’s a lot more closed and I wouldn’t call her G4’s nor Ab4’s relaxed. There isn’t even shallow support, there is no support whatsoever.

      1:55 Rosé also went flat here and at 2:02, and although she is pushing with air more so than she needs to, it’s kind of part of her style. It’s not ideal, but she’s at least more relaxed. 2:14 Lisa sings, there is no support but she is sacrificing a lot less of her health for the sake of style. 2:44 still quite flat for Jisoo, no support whatsoever, her throat is pretty closed. 2:55 Rosé was also flat, not as much but still flat. This song isn’t challenging for any of them, singing like this for Rosé isn’t ideal but it’s not going to hurt her because the range of this song was G3 ~ Bb4, which is slightly over an octave. It’s not a challenging range at all. 3:10 pitchy runs and adlibs for Jisoo, too much air coming through her vocal cords. 3:29 Jennie is a lot more opened than Jisoo and Rosé cause she doesn’t place her sound straight through her nose, but she pushes a lot without supporting and kind of half sing-raps, so honestly there’s no huge gap between her or Rosé, but the difference between them and Jisoo is quite clear.

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    1. Isn’t it depend on the singer? I mean it’s like the singer’s skill how she/he want to play with the song like change the way he/she likes? So i think there’s no standard?

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    2. Musicality yes, because some people lack the breath control to handle dynamics but musicianship .. there’s no real parameter I suppose?

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      1. Reading taeyang’s analysis, there is a part that says “he will at times try and add different vocal runs or change the melody, but it will be mostly flat or feel out of place” so I thought there might be some kind of standard…
        Anyway thank you for enlightening me 🙂

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      1. Well…at least they have a good amount of material, though I don’t know if they have a lot of material for their lower registers. The only song where I can think of where any of them sing pretty low is the song 그럴 텐데 I Would, and only Young K sings low for a few seconds in that song.

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    1. Well, there are people that claim her voice is “thin” and “nasal” as well. And believe that her range above G#5 is strained and that she also strains F5 as well. I personally have no problems with those notes. Besides that one E6 where the video is all grainy. I don’t like that one.

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      1. Since I also saw the discussion about Sohyang’s E6 and F6 over the last days I wanted to add that I dont see the point in people saying Sohyang has tension on E6 when they bring that old grainy video which pandayeu already mentioned as an argument when this video is like over 10 years old or so and just recently in her prime she hits E6 in the green room without warmups completely resonant. Same for the studio version of that old video.
        My ears arent fully trained and I am a Sohyang fan but I am trying my best on being objective but I cannot really hear any tension on her F6 in ‘Emotions’ either. I mean, for me they sound completely free and open.
        But actually if her supported range goes up to E6 or F6 doesnt really matter but I would be happy if that discussion would be solved within in the next days.
        Besides all of that,
        thanks to all the admins who are running this nice blog and answering all questions. You’re doing great work guys 🙂

        Liked by 1 person

  8. Does vocal abuse permanently damage a singer’s vocal chords forever? For example, Hyorin used to be a ‘good vocalist” but she had regressed over time because of the vocal abuse, raspy falsetto, and throatiness. Another vocalist like Mariah Carey, would she have permanent damage her vocal chords as well? I thought she was an excellent vocalist in her prime, but is she still an excellent vocalist now or at least “great vocalist” even after the nodules, vocal abuse, and aging(idk bout this one)?

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    1. I feel like yes and no. It may permanently affect some notes in you range, in a way in which they may never come back to their full glory days, but it doesn’t mean that they can’t make a massive recovery with their technique. I would rather not rate Mariah Carey, not in her prime, not now.

      Like

  9. Hello! I’ve been lurking around this website for a while now, and I’m curious about one thing. There’s this new group called A.C.E, and I’m curious on to who has the best technique? I don’t know if you can tell from this one video particularly, but I’m just curious. Thanks in advance.

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    1. 2:17 in Flashlight was a lot of closing of the throat and getting really scratchy in quality, so quite strained.
      For this video:
      “0:12 he is way too close to the microphone so there’s a bit of a distortion from him being too loud, but I don’t necessarily hear tension around Eb4. 0:16 Donghun is really raspy. 0:22 Jun is really in his throat, he places the sound too low and closes his throat. 0:38 He has a nice voice, he just places it so much in the throat. 0:45 strained quick G#4. 0:48 another one. 0:55 He is too heavy on the F4’s. 1:05 she in the back on her phone like “I’m here with this boygroup love steph XOXO” lol 1:47 He is pushing a bit, Chan, but it’s hard to hear cause he keeps getting distorted in the mic. 2:03 ~ 2:07 strain and tightness for him throughout. 2:16 too raspy and tight.”

      Something else I wrote about A.C.E.:

      “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? ^ ^”

      Like

      1. Thank you! I’m not very educated in this stuff, so it was cool to learn how they did at an unbiased perspective haha

        Like

      2. And I’m guessing the lady in the background is their manager or something because she didn’t care at all lol

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      3. (new A.C.E stan here) Chan is listed as a Main Vocal on kprofiles, so it seems like they’re doing a dual Main Vocal thing with the group

        Like

  10. Hey! I’m really confused about vocal types and all that. I’m sorry if this is gonna sound dumb but idk.

    So someone was talking about kpop and the voices in kpop and stuff and they said a Hani from EXID and Lisa were altos and I was like huh? Cause I thought alto wasn’t an actual vocal type/fach you know? So I went to their blog and someone asked them about it saying they thought alto was just like a part that’s sung and they said no alto is a vocal type too and that Hani, Lisa, LE, and some others could be altos. I don’t really know enough to say this but aren’t all their voices not really deep enough to be contraltos and is alto a voice type or not? And sorry I forgot but another person also said Taeyeon could be alto but is a mezzo soprano and I thought Taeyeon was a soprano? I’m sorry I’m just confused.

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    1. I don’t think you should be listening to this person. Hani is a mezzo, Lisa is a soprano. Contralto is a voice type, alto is technically not a voice type but people use it as a short for contralto. Why are you confused? You’re listening to people who don’t know what they’re talking about, you probably shouldn’t listen to them if they’re calling Lisa an alto and Taeyeon a mezzo. What blog is this if I may ask?

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      1. I think alto is also used for a vocal position in a group or choir, describing the female (or male) taking the lower notes of harmonization. Is this true?

        Like

      2. Oh I forgot it’s someone’s personal (I think) blog on Tumblr and they’re a Seventeen blog but they made a post about rappers having deeper voices and being altos and baritones I found it randomly, then other people asked about the alto thing and yeah. And I made a mistake, the other person on this person’s post said “Taeyeon is classified as an alto but her training let’s her sing in a mezzo soprano range” but yeah I think they were talking about choir parts because they said something about someone being a sop 2 too but they also were saying these things in a way like they meant they were talking about vocal types like how they said alto is a voice type too so I just didn’t know lol sorry

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  11. Hi Ahmin/Pandayeu, I want to know what is my voice type. The lowest note I can sing that I am still in comfort is F2 but I can go all the way down to Eb2 but I’m not really comfortable with that note since it sounds breathy and weak. The highest note I can hit that I am still in comfort is F#4. I can hit a proper G4 sometimes but most of the time it is pushed and it sounds really weak. My G#4 is worse than my G4 but still I can hit it. If I use my head voice or maybe mixed voice I can hit a really really REALLY super weak Bb4. If I use my falsetto I can go all the way up to F#5 with comfort but I can hit a G5 up to D6. Tho sometimes I can hit a C6 with ease depending on my health and mood. Base what I’ve stated does that mean I’m a tenor or a baritone? If I’m a tenor, what kind of a tenor I am? And if I’m a baritone what kind of baritone I am?

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    1. I’d really rather hear you sing, but the way you’re describing your voice sounds a lot like an untrained baritone to me. I can’t tell you what kind of voice you have beyond tenor or baritone without hearing you sing. The information you provided doesn’t tell me anything, it doesn’t even surely tell me that you’re a baritone. Range does not equal voice type. You should probably watch my newest video:

      Like

      1. Oh! Thank you! I always feel like I’m a baritone but some says that I might be a tenor. Now I know. I recently join our school glee club and our vocal coach/coordinator wasn’t around at the time up until now, when I auditioned they put me at the tenor line because they said I have a high pitch(?). So when I sing with them I feel so uncomfortable because it feels like it was too high for me. And yes, I am an untrained singer. Hopefully our vocal coach will meet us soon so he can help me with my techniques.

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  12. Ahmin, are you going to do a Vocal tips video on throat tension? Every so often when I sing, I start singing in my throat. Even when I try to rest my vocal cords for a few days and relax, my throat still hurts…Even as I type right now my throat is killing me. Could you please give me some tips on how to reduce throat tension?

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  13. Hi, Ahmin. Among full/light lyric sopranos on proficient category, who has the strongest mixed register? Is it Jimin? I have this feeling that U.ji isn’t since her lower register gave her some boost(i’m playing video game) lol I’ve read all their analyses carefully and I’ve come to a conclusion.

    Jimin/Taeyeon>U.Ji>Eunji>Wendy?

    Another question, are you associated with Onehalyu vocal thread? I’ve seen some of their analysis but I disagree to some like Hyorin has only support up to Bb4, and Sunny has consistent support up to C#5. Somehow, I agree to the author giving Jessica support up to B4. She is quite inconsistent in her C5s.

    Great job for your hard work on your latest debunking videos. I cried since I’m a baritone too, jk. Thank you.

    Like

  14. Any tips or something how to strengthen mix register? So it’s not easily switch to falsetto/head voice, or too early move to head voice/falsetto area, or like just jump from chest/low notes to head/falsetto even without trying to go higher with mix. Yeah. i know sometimes it’s better and healthier than straining in mix voice but still.

    And can head voice be airy just like the mix or low notes?

    #PEACE

    Like

    1. Yes it can be airy. You should try slides if the two notes exercise aren’t working for you. Slide fifths, like C to G, D to A, etc.

      Like

      1. Well you can hear it if you’re used to it, but try noticing if anything sounds like it doesn’t match. Then compare the notes to the key of the song to make sure it’s within key.

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  15. Hey Ahmin, I don’t know if you remember me I sung Listen on Smule and did a small cover of Why Don’t You Know by Chungha. I had a few questions in my mind and I thought that you could help me, so here I am:

    1) Is it normal that my voice is disconnected the morning and becomes cleaner in tone and more connected as the journey pass by? Like my comfortable range in the morning is F#2/E4 but the night one is E#2/F#4… And those notes are much more easier to sing during the night, though mixing above G4 is still impossible for me… I also have a pure head voice the morning (weak but head placed) but during the night, my head voice is really hard to use, it’s not pure anymore (more chest)…

    2) Are Listen and All Of Me good song choices? I’ve already sung them, so if I redo them, we could hear if there will be a notable difference compared to the older !

    3) I should have a lighter placement around which note? I don’t know if I should use more chest in notes like E4… I do it sometimes, and it’s not bad but it’s kind of throaty/rough so I wondered if I could use a lighter placement around D#4 and more chest support below.

    4) When I’ll send you my covers, would it be possible for you to rank me? Honestly, I think I’m an Above Average singer not less but not better either. I think I could be a Proficient vocalist if I start to sing more confidently and have a musicianship (which I have but well, I don’t want to destroy the songs so I don’t use it)

    5) Is it normal that when I sing with people, my voice is a lot more opened and free? I shocked myself a day because we were having a sing-off with one of my best friend and I randomly sung a resonant F4, I was so happy but I’ve never did something like this alone (well I think) so it really surprised me. Whilist when I record myself, since I’m not confident and I have a lot of troubles with opening my voice…

    6) I think that I control my support now (even if it’s not mastered, I’m really proud of it, especially when I’m phrasing the change with my older voice is so noticeable) … So I think that I’ll work harder to achieve resonance now! Do you have any tip for it?

    Sorry for the lenghty post 😥 I hope that I don’t bother you, thanks for your kind and smart words, keep up the good work (I’m also adressing to the others analysers, thanks!!)

    Like

  16. Hello Ahmin, I wondering about how Jerry did here, I feel like she can produce resonance like at 1:42 2:46 3:06 but I think she was tense throughout the chorus, especially at “Cry ME out” and that last chorus at 4:13, what do you think?

    Like

    1. There is some pushing, she can be pushy but yeah I’ve noticed that Jerry can produce resonance before, and she is actually kind of underrated. She can get throaty above B4 in this, but the resonant notes were B4’s.

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      1. Thank you for replying! This was her last cover in 2015, I’m hoping she improved by then, but it seems her group is inactive (like so many of my fav groups in 2017 D:).

        Like

  17. Hi Ahmin/Pandayeu,
    I have recently started a Yt Kpop Vocal Cover Channel. I’d really like to improve, but my ear is not yet very good concerning vocal technique, so… I have noticed things myself, but there might be basic things like support I might not have noticed. Please correct me if I’m wrong 😀

    https://youtu.be/rjNofuLyDBI (BLACKPINK – As If It’s Your Last)
    I believe I went nasal when going down in the first verse? Also, my intonation was not always 100% correct. In the bridge, I think I strained the first high note.

    https://youtu.be/l343OlV1mIc (WINNER – REALLY REALLY)
    I was really sharp one time and went out of breath in the chorus.

    https://youtu.be/kenD8zr4-Sw (Taeyeon – Fine)
    The verses were a little bit out of my comfortable range so the intonation is extremely off. I tried my best not to strain in the chorus, but idk… maybe I still did. Or I did not strain, but did not support either.

    Like

    1. Hi there dear!! Yes you’re right, there’s slight nasality when you go lower. Yes there are also issues with pitch 0:53 around there especially. I think one thing that that I’m noticing the most is that you keep going very breathy and air throughout. The higher you go, the more breathiness escapes through your vocal cords and there is just a generally heady quality throughout. It doesn’t sound like you have developed your chest voice muscles much throughout your upper and mid ranges, even if there is some tone in the lower range. You also need to enunciate better, by dropping the jaw more and making sure to place the sound more towards your lips. You’re always so heady, so you sound so breathy and soft even on the parts that aren’t that high and need a bit more emphasis. 2:46 like these parts, you’re not enunciating clearly, you sound like you’re constantly running out of air and not taking enough time to even out how much air you let out at a time.

      Really Really is pitchier but that’s less of a technical issue or like a new issue and more of a continuation of what I noticed before. 0:23 0:26 G3’s and E3’s lowering the larynx for the low notes and due to the lack of chest voice, you sound kind of pitchier in your lower range. 0:35 0:48 1:00 Aye tension generally.

      0:10 E4’s, that’s too early for you to be in your head voice. Mostly this is it, I’m hearing breathiness and headiness. Lack of dropping the jaw for diction, so you lose the placement in your mask for a good amount of it. The sound just isn’t placed, it’s generally too heady for a good amount of the time. The support could be stronger.

      Like

      1. so I’m generally way too heady? Actually, I wanted to naturally let my voice get lighter as I go higher… And for lowering the larynx, when I had vocal training for a short while, my instructor told me she noticed nasality when I didn’t drop my larynx in my lower range. At least I support, even if it’s shallow lol I guess I have to ignore my mother for a while bc she keeps nagging that my singing voice doesn’t sound like my speaking voice so I tried to sound “lighter” and to not put so much effort into singing. I guess she is the JYP in my life? lol
        So I’ll have to train my chest voice, work on my diction as in dropping my jaw more and erase my breathiness, right? Oh god I still have a long way to go xD
        ah btw so I didn’t strain at all? O.o
        btw just curious was there anything good in particular you noticed? Just asking bc only knowing my weaknesses is a little bit… yk lol

        Like

      2. Yes, you are generally too heady. Well not sounding like your speaking voice isn’t exactly a bad thing, I don’t see the problem. Well there was strain at the top notes, but it’s not as harsh as if you had pulled in more chest or tried to be very loud. Well your pitch isn’t necessarily bad, you get the general melody of the songs and you tend not to push, which will help you in the long run. You’re a healthier vocalist than someone who can’t mix at all and just tries to pull their chest voice up.

        Like

  18. Hey Armin, I was wondering if you could judge my cover of Liability by Lorde. Any feedback to further my knowledge and help me practice further would be greatly appreciated!

    PS. I’ve watched your recent video on distinguishing baritones and remember you said your voice type depends on where your voice transitions. Idk if you can identify my voice type based off this cover cause I’m employing my mix troughout but if you can that’; be great cause I still find it confusing whether I’m a tenor or baritone.

    https://www.dropbox.com/s/qqbnzcepa13740r/liability1.mp3?dl=0

    Like

    1. This song has such beautiful chords for the intro! Oh and btw I did get your comment, no worries. I just put it as unapproved so I wouldn’t forget to respond to it later!

      Let me see what I hear:
      It sounds like you like indie music. Your mixing is really bright, it’s mostly heady. The Eb3’s aren’t bad, this isn’t though! I hear 0:49 B2 you lose tone around there, your voice becomes really muffled and you don’t seem to have much presence there. I hear a lot of tongue tension, kind of a bird-like sound that’s very much a part of indie music. Would you rather me write in Portuguese or in English by the way? You don’t seem to have many issues with English though. I hear the tension, I hear lack of openness and I hear a lot of style. The way you’re singing this song is fine and works for it, if you were to sing a musical theater song like this maybe it wouldn’t work so well. So you have a nice style, you’re pretty heady, you have nice pitch, you seem like you’re more than likely a tenor, I don’t see why you’d be unsure.

      Like

      1. Thank you so much! I’m actually an asian guy from San Francisco haha but it might be saying I’m from BRazil because I’m on avacation. The reason why I was unsure is because I can support G4’s but watching Kpop tenors easily support up to A/Bb4’s without problem makes me wonder if that’s what a tenor is capable of. Also is having a headier mix a bad thing? How do I utilize my chest voice more like how you say baekhyun’s mix is more chesty. Again, thank you so much for getting back so soon 🙂

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      2. Well that explains why your English is so good. lol I am not sure the word I’d use is support but hitting sure, your u can hit G4’s. Easily support up to Bb4? Who? Lol like 4 tenors amongst idols. It’s not a bad thing but being this heady so early can limit the growth of your voice. Well have you tried singing in a different style before?

        Like

      3. Yeah I come from a musical theatre background so this is a really particular style of singing I reserve for certain songs like this one. When I get back home, I’ll send you a new recording of me singing something that showcases my voice in a different/fuller way? I thought if I sang this in a more open manner, it’d take away from the intimacy of the song but I guess its one of those classic style sacraficed for technique. I wish you lived in SF! I’d be thrilled having someone as direct and specific as you be my vocal coach. My current vocal coach doesnt really like to address “issues”, but rather refrains from saying anything bad because she doesnt think its productive? But yeah, I was trying to find your email on your youtube channel but all I can find is your links to social media. I’d love to send you a recording when I get back through email 🙂

        Again, obrigado!!!! 🙂

        Liked by 1 person

      4. Oh the link is only visible if you go on my YouTube channel through a browser. No problem and I look forward to it! I don’t understand how addressing issues isn’t productive but okay.

        Like

  19. Is everyone in TWICE/BLACKPINK sopranos?? Also can I email u a clip of me singing cuz I really want to know if I am singing the right way.

    Like

    1. Yes you may. My e-mail would be found on my youtube channel under business inquiries. Also I do believe most of them are sopranos, although Jisoo is a bit questionable.

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      1. I always thought Jisoo was questionable as a soprano too…does her voice sound a little heavy to you? Or does it seem like her passagi might be a bit lower?

        Like

  20. Sorry I just realised that there were too many questions to answer and some weren’t exactly interesting, I hope I didn’t bother you

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  21. Hi,
    I was wondering how you would evaluate Song SoHee. I am in no way an expert, but I always thought she was quite pleasant to listen to https://www.youtube.com/watch?v=qze2MgK12AM I know she uses a different singing style, but that doesn’t change one’s abilities right?
    P.S. Thank you for the amazing analysis you always give for K-pop artists, it’s really interesting to read!:D

    Like

    1. I wouldn’t evaluate Song Sohee because she is a pansori vocalist, not exactly a contemporary vocalist. The technique she uses to sing is very specific to Korean folk singing and I am afraid I’m not qualified nor familiar enough with that type of singing to claim that I can evaluate her ability to sing in it.

      Like

    1. Have you seen the vocal tip video I made about falsetto vs head voice? Because that question is answered there, I would think.

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      1. I totally forgot about that video, sorry.
        I’m trying to learn to hear the difference between head voice and falsetto, could you help me out?

        (Starts at 3:37)
        1. falsetto
        2. Head voice
        3. Head voice
        4. Falsetto
        5. Head Voice
        6. Falsetto
        7. Falsetto
        8. Head voice
        9. Falsetto
        10. Falsetto
        11. Head voice?
        12. Head voice

        Thank you

        Liked by 1 person

      2. 1. No, that’s head voice.
        2. A bit of a breathy head voice
        3. Yes
        4. Sounds like a head voice without support to me
        5. Head Voice
        6. I think so
        7. Sounds like a tight head voice without support to me but falsetto could be too
        8. Yes
        9. Yes and off pitch
        10. Sounds like a slightly tense head voice to me
        11. I think so
        12. It’s not a very developed head voice, but it’s more of a head voice to me

        Liked by 1 person

      1. I want ask about vocal of OH MY GIRL’s member. Seunghee, Sejeong, Yuju , Yeonjung , who has best vocal?

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      2. THAT PART THO LOL “I love it when he sings those notes (F4-F#4-G4) because this is where you can hear his pure voice, with a slight rasp and no head voice dominance; I think they’re mixed perfectly.”

        Like

  22. If a falsetto is relaxed does that mean the larynx has to be neutral? Because I personally cant sing in my falsetto without the larynx going up at some point but it still feels kinda relaxed for me. Like above A4/bb4 my larynx goes up but it just still feels pretty relaxed

    Like

    1. Yeah putting the link below your name is not for a link related question, it’s a link to your own website. That’s what wordpress means. I edited the comment to add the link. And I’m sorry, we have a rule against answering video questions regarding vocalists we won’t analyze.

      Like

  23. hi ahmin G.O girl here remember me ? do you know Daeun (안다은) of Acoustic Collabo back then and the ade from 2016 , i thought she didn’t have materiels but she’s quite active with OSTs and festivals and concerts my korean friend told me she’s well known
    here her cover of 말리꽃 https://www.youtube.com/watch?v=4kBway-4cfw
    0:18 F#3 is a no |
    then she sing around A3 – F#4 i’m not sure about A3 – B3 i heard low larynx A3 like at 1:21 |
    1:34 clear support from F#4 – A4 with some dynamic with A4 at 1:38 |
    1:48 supported A4 |
    1:51 supported B4 |
    1:58 supported B4 |
    2:05 supported B4 it too long i think i will just highligh some part ^^
    2:17 supported D5 |
    2:20 resonant C#5 |
    3:47 pushed E5
    3:50 i would say resonante Eb5 and C#5 but i’m not completly sure her mix is bright |
    4:19 bright C#5 and B4 |
    i was excited so i decided to cheack some of her recent stuff

    1:58 resonant D5 |
    3:46 what you think of her G#3 ?
    4:08 she give me luna vibes here but her mix is more bright like C#5 at 4:16 |
    4:40 very resonant C#5 the song is full of C#5s
    7:40 effortless B4
    the first performace was in 2015 and the second is 2017 there’s obv improvement i havn’t cheacked her other registers very well but from her mixing she semms to me like at least above average or proficient
    sorry for the looong post :p

    Like

    1. Hi there. I don’t recall exactly sorry. This is maybe a few too many videos for me at once. 2:02 Her vibrato can be a bit wobbly. 2:14 That was the most opened B4 that I heard. I also heard some issues with the A3’s, and I do hear the support up to B4. 2:17 2:20 I wouldn’t call either of those notes resonant, nor even fully supported. I hear clear closing of the throat and glottal tension up there. 3:27 C#5 again hearing the glottal tension, she becomes less opened. 3:50 I don’t think the Eb5 nor C#5 are resonant at all. They lack openness, they lack focus of placement, I hear the glottal tension throughout in the fifth octave and she is quite heady which minimizes the strain.

      1:58 This D5 in head voice? Resonant? No, I’m not even sure I’d call it supported. 3:46 I wouldn’t call this supported. She does sound like Luna. 4:40 Very resonant C#5? I really don’t hear it. It’s pretty and heady, great mic reverb. But I am still hearing the glottal tension. You know very well that I don’t like rating vocalists without analyses but definitely not proficient, that’s not what I’m hearing at all.

      Like

  24. Would be normal that if you start singing that your larynx moves up a bit. I noticed it with a lot of Vocalists. And it also seems like tíf you take deep breaths the larynx goes down a bit. And when they start singing their larynxes go up like a tiny bit.

    Like

  25. If I can sing in an soprano-opera way (idk how to call it) and hit D6 or higher, but my normal male head voice only stops at Bb5, then does my range extend to D6 and above or only stop at Bb5?
    And how do I modify my larynx position? I know that my larynx are sometimes not neutral but not really don’t know how to bring larynx down or up to the neutral position when singing.

    Like

    1. D6 I would say. Swallow with your finger on your adam’s apple, feel it move then keep the finger there to monitor the movement as you sing. If you sing higher, yawn to push it down while keeping the tongue forward.

      Like

      1. Sorry, I actually misunderstood it. That position is when your mouth is closed and you aren’t speaking/singing. Meaning, the tongue should rest at the hard palate instead on lower part.

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      1. I guess I misunderstood but I saw that one conversation you had with that guy in reddit who claimed that there is no such thing as contemporary technique or something like that and I saw that both of you kind of agreed that there is no need to rank a singer who prefers style over technique. I guess I was mistaken lol.

        Like

      2. Oh that was a girl! And I agreed to talk about it with Pandayeu, but we never reached a mutual understanding.

        Like

  26. Hi I want to ask what you think of Jihyo’s vocal technique here. I think she has a problem with her breathing or something (im not really sure). Some others say she’s best at singing these type of songs “trot”. do you think she has the technique for it?

    Thanks!

    Like

    1. 0:14 The C#5’s aren’t too pushy, this is one of the lightest examples of her mixing high. 0:28 a bit flat because she didn’t open her throat. This wasn’t bad, the pitch wasn’t perfect but it was pretty nice! I am not sure I can tell you what the best technique for trot is, so I can’t agree nor disagree.

      Like

  27. Hi, Ahmin.

    1. What’s the difference between a LYRIC Mezzo and a Mezzo? Aren’t they the same? Do you know a mezzo in pop?

    2. There was interview that Lea Salonga, classified her self as a lyric mezzo soprano. I did a research and watching some vocal range videos of her and concluded that her supported range is E3 – C#5/D5 ~G5 (with head voice) though I am not that confident with that so I am asking for your help.

    3. Are there some possibilities that a Light Lyric Soprano will become a ;Lyric Mezzo Soprano as she aged?

    4. Are there some possibilities that a Full Lyric Soprano will become a Spinto Soprano? If she has an agile voice?

    Thank you very much.

    Like

    1. 1. A lyric mezzo is a specific type of mezzo soprano. Just like light lyric, full lyric, spinto, dramatic and coloratura soprano, mezzos also have more specific fachs than just lyric.

      2. I am not entirely sure what Lea’s voice type is, but mezzo has crossed my mind more than a few times.

      3. Not usually, no. It’s possible for the voice to change as you age, but many people stay the same voice type throughout their lives.

      4. A full lyric with an agile voice wouldn’t make her anything but a full lyric. Just being agile isn’t enough. Again I am not sure about these changes, it could be but it depends on each individual vocalist I suppose.

      Like

  28. Hi! its me again.. Can i ask what are the high notes in ITNW? From 3:33-4:05 (dowajwo) here’s the link : https://www.youtube.com/watch?v=15tn-jxndxk

    Also, if you have time, could you tell me how i did in these two songs? I tried to analyze by myself but i couldnt lol, but imo, i still have a lot of air, no support, and lack of pitch sense plus musicality, is this right? I record this at night so cant be really loud (tho it sounds more like an excuse😂) if so, can you do a short analysis on how i did? only if im not bothering you.. i feel like you might feel burdened(?) if i always ask you things😂😂 Thankyou very much!

    https://www.smule.com/recording/love-me-like-you-do/498920152_1430829862

    https://www.smule.com/recording/iu-%EC%95%84%EC%9D%B4%EC%9C%A0-inst-iu-through-the-night-%EB%B0%A4%ED%8E%B8%EC%A7%80/893908757_1431641156

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    1. So I answered this on Youtube earlier, it’s an F#5.

      I do think the accent in English can get in the way of diction and proper placement, but I you don’t sound too breathy. You do get tight pretty quickly in your mix around Bb4 when you get to the chorus of Love Me Like You Do. I would say there’s still work to be done with better and stronger projection, pitch when transitioning back and forth from falsetto/head voice. Also a few issues with rhythm, like in the pre-chorus and yeah the tightness in your mix makes you unable to really evoke the dynamics you need for the song. The IU song you’re adopting a breathier approach, a more girly approach overall. It’s less connected and the diction is less clear, you end up a lot more nasal in Korean due to singing in it.

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      1. I see, thank you very much for helping me, much appreciated! ^^ bytheway, how to differentiate falsetto and head voice? it seems much similar to me..

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