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. The vibrato is really kind of wide and the background vocalist is kind of standing out too much here and there. These notes are C5 and above, those are a bit too high for him to sing without throatiness getting in the way.

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  1. The girl singing at 0:11 is she that good to get a perfect score?? (In case you don’t know this came from idol school, a survival show.)

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    1. It’s not like it’s a challenging song to sing, range wise. Bada wasn’t complimenting her technique, she was complimenting her expressiveness which is what she called perfect. It wasn’t exactly the same as a perfect score. Singing wise, she was puffing a lot of air out and overly relying on air pressure.

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    1. It’s mixed, but with so much strain. It’s Bb4 to Eb5, those aren’t very usual high notes. A lot of tenors can hit them, but I haven’t heard a K-pop tenor mix above C#5 without straining.

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    1. I would rather not rate Michael Jackson but I can assure Excellent would be very far away from his actual rating. Don’t confuse fame and legacy with vocal ability, those things aren’t similar at all.

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  2. How much of a difference does agility and musicianship make for someone’s rank? Like if say someone is at the higher end of Proficient could agility or musicianship/musicality bring them up to Proficient to Good, or something like that?

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  3. Hey admin can you analyse that and canyou please tell me if she improved or not

    And I want you please to analyse lee hi in king of masked singer

    Thank u very much

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    1. My only thing with this question is that it pertains to a vocalist we’ve already analyzed and I’d really rather you ask the question on her analysis instead of posting it here.

      Unfortunately I hear absolutely no support from Sandara, so no I wouldn’t say she’s improved.

      As for Lee Hi:
      I like most of her B4’s throughout the duet with Im Semi. She is doing well with changing between a more stylistic approach and then using more connection and better placement. 2:29 The Ee and Aye vowel still show issues for her in terms of shaping.
      I love her version of My Name, it’s such a cool vibe to the BoA classic. It’s smooth, sexy and dark. Not necessarily vocally challenging. The range was generally narrow for her so it didn’t really challenge her in anyway.

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    1. I absolutely LOVE your username. lol Not necessarily, you can make “ugly” faces and not be straining necessarily. It’s better to listen to the quality of the sound instead. Those notes were Eb3’s actually. 2:35 Eb5 to F5 to G5, all high larynx, all strained for Jinho. 3:50 I would say Hui is less tight but breathier, more falsetto like. Which makes it easier since he isn’t carrying as much weight. They’re both strained.

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      1. Thank you very much , one day baritones will be at the top of pop music and the tenor will be disappearing. They will be endangered .lol Sooooooo Baritones fighting!!!!!

        Liked by 1 person

      1. Thanks😊 By the way…Do you have any music friends or know anyone who has gone to the Berklee College of music?

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  4. Hi Ahmin! I was just wondering if there are any vocalists (not just in kpop but in any genre) who you would consider “excellent/amazing/fantastic” as you said there are no idols who fall into these categories. I’m always interested in listening to vocalists with good technique so if you have any suggestions of people who fall into these categories I’d love to take a listen!
    Thanks!!!

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    1. You know aside from Natalie Weiss, even the greats like Whitney Houston, Barbra Streisand, Mariah Carey and Aretha franklin had inconsistencies to the point where I’m not sure. There are vocalists like David Phelps for high tenor gospel belting.

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      1. I always find it annoying when people defend the “greats” and don’t listen to any criticism… but I’ll have to check out Natalie Weiss later! I’ve never actually heard of her so thank you!!!

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  5. Hi! Can people have a naturally husky singing voice or is it strictly a habit/technique?
    And if it’s technique, to what extent can it damage the vocal chords (even if done properly, if that’s possible)?

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  6. Is there an American pop equivalent to this site that’s credible? The few ones I’ve found have various differences… like the vocal ranges will be drastically different or the vocal types and it gets confusing especially when they go to explaining the advantages and disadvantages of an artist lol

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  7. Hi ~~ this is like the third time or fourth that I sent you a cover of All of Me, but I hope I may have slightly improved: https://drive.google.com/open?id=0B1QYUGguxLGVX2hkaTJUcHJuYWc Not sure if I accidentally used my head voice when ascending to G#4, and if I did then my head voice sound throaty somewhere. I was like oh now it’s the bridge with so many G#4 the whole neighborhood is gonna hear a puppy growling to death so I tried singing it more quietly without being really sure if it is head voice, so I guess the bridge is a bit airy. I don’t think I did support anywhere because the last time I sent you exercise you said I was doing better in the A2-F#3 range or narrower, and this songs only stops at F3, and I cannot really hear if I support or not. And how about my tongue and throat tension? Sorry for typing so much…

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    1. Your transitions into your head voice aren’t bad! You are kind of holding back quite a bit, mostly in terms of volume. I still hear quite a bit of blockage coming from your jaw and tongue which have to do with your accent and it’s something that’s different kind of issue to fix. 2:01 you took a shallow breath there, you started sounding like you were about to run out of breath too. You seem not to be breathing deeply enough into your diaphragm, make sure to keep the diaphragm full and expanded as you’re singing. As I hear you singing, I really feel like your jaw is being pushed forward slightly, and you are not dropping and relaxing it enough. This song stops at F4 actually. It’s okay dear, this isn’t bad. It’s a lot more relaxed, but you need to manage your air better and keeping working on your diction.

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  8. I’m not sure if this link will work…Ahmin, would you please critique my cover of 11:11? I apologize for my breathlessness…I did this in the kitchen at 7:00 a.m in the morning and I was nervous because my dad comes home from work at this time and I didn’t want him to hear me singing.

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    1. This is a slightly higher key than the original key but actually since it’s in English, the melody sounds really really different. You sound like you’re holding back, it’s not a good thing because then you’re unable to keep the key center in your mind and at times I am not sure what key you are in. I like it when you start clapping along to the tempo of the song, it gives a nice feel for you. Your voice is so pretty actually but I think…where did you get these lyrics? I know this song and I wasn’t sure what the melody of the song was while hearing you sing. This line though was the clearest for me to be able to hear the changes in key 1:04 in between G#4 and A4, 1:08 A4 1:14 Bb4, so with every single repeat of the same line of the nanana’s, you kept changing the key and going one semitone higher each time. I think the biggest problem here to me is key center, more so than technique. Try singing along to the track more so you get the melody and key center in your mind and don’t be afraid, don’t hold back. Place the voice towards your mouth and let it project, don’t get stuck inside.

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      1. Thank you very much! Actually I was holding back because my step-dad was preparing to come through the door from work,so I was quite nervous,so it hindered me from relaxing. When I listened to it again I realized that the key was changing alot…In some parts of the song…I couldn’t even tell what melody I was singing to be honest…lol. But the lyrics are my own that I wrote. I wanted to sing this in english instead of Korean because you prefer for us not to sing in languages we don’t speak. I also needed to practice the song and lyrics a bit more…Hehe
        But thanks again! I will practice trying to stay in the center of key😃

        Liked by 1 person

    1. Someone posted the Korean link of this performance before:

      “Well I looked them up and it’s Haena, who I believe is the second to the left one. So it would be Semmi, Haena, Saebyul and DanA. The first one to sing is apparently DanA, their rapper so I won’t focus on her as she has shaky support and she is pitchy. Saebyul is a sub vocalist and she also has somewhat shallow support, nasality and slight flatness throughout. I won’t focus on her. 0:50 Really nice harmonies, nice dynamics and blending. 1:03 Semmi needs to be careful with the flow and control of her runs, but she’s not bad. Her mix is a bit tight on C5. Their harmonies are very nice though.

      Semmi and Haena have nice support, their tones are produced with very nice forwardness and clarity. 2:11 Bb3 for Haena that was pretty nice. 2:24 high larynx strained F5 for Semmi, strained C5 for Saebyul. 3:25 quick F5 for Haena, also strained. She has good placement but she tends to sound like she’s stuck in her throat a bit. 3:25 the C5 before the F5 and the C5 after, they have forwardness but they tend to be a bit tense. Semmi and Haena are not very different vocally. Well mhmm the rest is mostly focused on harmonies. They did well overall.”

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      1. That’s Haena, this isn’t different from what I’ve gathered about her. That was too much in her nose, not opened enough and she was pushing from her throat to get to those Eb5’s.

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      2. Thanks. One last question. Will they possibly have an analysis in the future? I know that you aren’t taking request but it seems like 2 of their vocalist already have the bascis down.

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  9. Hello,

    I’m not to sure where to ask this so I’ll ask it here (please tell me if this is the inappropriate location). Is it possible to resonate notes without having healthy technique? As I read on your criteria/the voice pedagogy, resonance should be the optimal sound that vocalists aim to produce. However, I know that many of Adele’s notes are resonant while she uses very damaging technique, as if she’s using that specific technique to push her resonance? I’m not sure if that’s the accurate way to describe it. So if the admin here can clarify that would be great!

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    1. Who told you the notes Adele sings are resonant? What do you think resonant means? You’re aware that yes resonance should be the optimal sound vocalists aim to produce, which is produced when the vocal cords are well exercised, developed and connected. Where the larynx is in a healthy position, not blocked by tongue tension, glottal muscle nor swallowing muscle tension. Where the throat is relaxed, open, the jaw dropped, the soft palate lifted and an adequate amount of air pressure is being pushed into the vocal cords to produce proper support. These things have to be happening in order for resonance to happen, proper healthy resonance. 7:30 in the link you sent, that note is an A4 indeed which is not a note where Adele strains generally but why do you think it’s resonant? I think the problem here is your understanding of the word resonance and its meaning. No, it is not possible to resonate notes without having healthy technique would be the answer to your question but to me the deeper question is, what you think resonance is. You said “I know that many of Adele’s notes are resonant” what do you mean you know? Mic reverb, lots of echo into the mic, or singing loudly, those are not what resonance means. That note I’d say is supported but not resonant.

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    1. Question unrelated to this video: Does Face Shape affect how good you sing? Like someone with high cheekbones achieve mask resonance easier?

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    2. Someone posted this before and I said that I don’t think any of the members of Matilda support above B4. You are really into them these days, huh? Anyway face shape affects the overall quality of your voice as well as the ease for certain things. Someone with a bigger mouth can produce larger resonance because their body is shaped for it, but someone with bigger cheekbones can perhaps have more resonance there too, so it’s not it will make you better than someone else, but certain things will sound different for sure. Lee Hyun for an example, his resonance is very nice, large and opened because of his jaw being quite big and he knows how to open it.

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    1. Do we get to choose the mask? I thought they picked it for us. Tbh I’d be hella scared of the duet round cause depending on my duet partner, the key would be a huge problem for me. lol I don’t think we pick the duet song either, right?

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  10. Hi, please can you analyse 2 mv of blackpink.

    I want to know in you’r opinion who have better technic.
    (Sorry i’m not fluent XD)

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    1. I’m sorry but we don’t analyze music videos, we analyze live performances only generally. I’ll copy-paste from a live performance of Stay because it’s a song where they’re singing with no dancing or rapping.

      “Okay so finally I can hear them singing for real. So Rosé sounds really airy, a bit too nasal, a bit shaky, she is flat throughout. I’m not hearing a strong sense of connection in her airflow and her vocal cords. She does have a nice voice, but has a very clear style that is easy to like. Jennie then has a thicker push in her vocal cords, she uses more tone but also lacks in support, I hear just almost pure nasality as you said and throatiness. 0:50 Jisoo starts singing is all mostly pretty much in her throat, it’s flat throughout with pitch and tone quality. 1:11 she’s very closed and flat here, those are Bb4’s which indicate a very clear quality of a weak female vocalist. The amount of throatiness, the amount of shallowness and lack of support, it follows the pattern of our weak rating perfectly. 1:13 Rosé’s singing is very stylistic, it’s not as much lack of technique as it is going for a specific style that limits her singing a lot. Same thing for Jennie, even though she’s a bit more forceful. 2:18 She is really not making much effort to keep her vocal cords together, she’s almost creaking her way through the song, she is pushing her vocal cords together and keeping them tight and keeping her throat closed. 2:39 The Bb4’s are better than Jisoo’s, but they’re not supported. 2:45 Lisa is also shallow and airy, I don’t hear support there. Jennie makes more of an effort to keep her cords connected, but it’s all so shallow. 3:34 She kind of uses the nasal placement as a default stylistic choice, more so than a lack of technique. I wonder how she’d sound trying to sing a different genre where she wouldn’t be so free to be limited in style and range. I kept listening to the other song but I don’t hear anything particularly different.”

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      1. Can she improve if she continues singing this way? I think her stylish way of singing is very limited. Sorry for my bad English.

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      2. She as in Rosé? No I wouldn’t say this limited way of singing would help her improve her singing at all. And your English is fine!

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      1. A little it’s a little hard for me to understand because i’m not fluent ,
        so who have the best technic? Also can you analyse this of berry good i really like their voice

        Thank you 😉

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      2. You can look at the ranking of vocalists page then! ^ ^ Id rather watch a performance of them singing like.. with live instruments.

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    1. Not particularly cause indie isn’t really my style of music, so I can’t think of a stylistic vocalist whose music I listen to more than others.

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    1. He sounds generally relaxed throughout, I hear support up to F#4, although the stretch of his vocal cords could be stronger. 0:42 he becomes a bit tight when connecting more around F#4. 0:55 those G4’s were better mixed than many others I’ve heard from him, more relaxed. 0:59 Bb4 high larynx going down to G4. I hear shallow support but good enough connection from Joy throughout, her dynamics aren’t changing at all. She’s singing in the same exact volume throughout, she’s not making any effort to breathe deeper into her diaphragm, she’s not relaxing her upper body, she’s not opening her throat. The song goes up to Bb4 and B4/C5 (?) for her, she sounds slightly tight around that range like at 2:05, the support just isn’t very strong and her throat isn’t very opened. Her vibrato is also fairly shaky. He is pretty shouty on those Bb4’s and G#4’s during the choruses. 2:56 You can physically see her throat close up and her muscles tense up when she sings slightly higher and even though she’s trying to be strong, her volume doesn’t change. Although the gap between them isn’t big in terms of votes (47 for him, 52 for her) I’m surprised she beat him actually, but I guess this song is a lot more comfortable for her than for him.

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  11. Ahmin, I’m really curious about her especially on the chorus part at 2:00-2:32 and 3:17 till end

    Was she supporting throughout the chorus (and the G5s)? Thank you ^^

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    1. She is able to drop her jaw quite well, there is a openness but I definitely hear tension when she sings. Of course this is an older lady who’s used to this style of singing, it’s part of her sound but I hear a lot of pushing air.

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  12. Do you know any female singers that can project,support and/or resonate in their lower register while maintaining a neutral larynx?

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    1. Well… How about from 0:46 to 1:08? Like do they show support in that part? Because that part almost include the whole range of the song. I know that Somin push C#5, and I guess Jiwoo strain B4 in 0:56 but I’m not sure about Somin’s B4 in 1:05, also Somin may sounds relaxed with B3 in 0:50 but not sure if she supports that note. Jiwoo may sounds nasal, are those guesses true?

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      1. 0:48 she drops support down to G#3 0:51 but support up to G#4. 0:56 B4’s are tight for Jiwoo and she kind of half-raps when she sings. 1:07 strained C#5 and the B4 is pushed. Somin can be a bit pushy even though her mix is bright. Your guesses are pretty correct.

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  13. When I read/watch vocal analyses from else where or on youtube, they often mention one’s lower range e.g. around F3/F#3, then it is about the mixed range e.g. A4/Bb4, what about the notes between? Why are they not mentioned?
    Agility is more of a natural thing or one can have excellent agility by practice?
    Thanks!!

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    1. Well usually those notes are mid range and since people don’t really focus on that range, since it’s almost like speaking range, we don’t use them. But B3 ~ G#4 for sopranos can be partially chest, partially mixed, it depends on how they approach it. Agility is just like any other skill in singing, it takes practice and it can be taught although some people might have an easier time than others.

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  14. What’s the difference between falsetto and whistle?? A while back when I tried to figure out wtf happened w Mariah Carey a few websites said the whistle register was … like not really connected or just the tips of the vocal cords??? And the first thing I thought of was falsetto since that’s not really connected either lol

    BTW if I’m singing in a high pitched voice is that falsetto or?? (I’m a guy)

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    1. The whistle is a different register, although muscle wise I’m not sure how it’s produced. It can be mixed voice, falsetto or head voice. It depends on the register you’re using and what note.

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  15. I always felt that Chaeyoung was one of the best vocalists in TWICE after (Jihyo,Nayeon and Jungyeon) What do you think? Is she straining? She knows the basics of singing more than TWICE sub vocal? Am I wrong?

    Like

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