About & Our Criteria

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Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.

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This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.

TERMINOLOGY

Tones/Semitones/Notes/Key
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Intonation
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

Vibrato
The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

Stability
The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Registers
Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

Support
How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing.

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship/Musicality
Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

Legato/Staccato
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Agility
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

Great 

  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Proficient 

  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among K-POP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise. They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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9,032 thoughts on “About & Our Criteria

    1. Yes you can, because pitchiness can come from improper vocal cord muscle memory even if there is support or sometimes lack of openness and placement, so you can but it shows your support is not 100% established.

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    1. She sounds very thin and closed around B4 and C5. Her support isn’t strong and she’s never fully relaxed, while her vibrato is still fairly wobbly and unsteady. She sounds like she can’t get any louder because she lacks a developed chest voice and her throat isn’t very opened.

      Like

  1. Hey, Ahmin! Do you think any of the newer groups (like the ones that debuted 2015-2017) have members that can support or have good vocal technique? Aside from Seventeen’s Seungkwan and DK, I mean.

    Also, do you know about Boys24? If you do, can you tell me if any of the vocalists there have good vocal technique/can support? I’ve heard people saying that the Boys24 trainees were a lot better than the Produce 101 ones so I got curious if you thought the same.

    Thanks!

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    1. Never mind about the second paragraph. I saw one of your old comments and you said none of them have good vocal technique so… ^^;

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    2. DK, Seungkwan, Yuju, Jihyo, Jungyeon to an extent, CLC’s Seunghee, OMG’s Seunghee, UP10TION’s Hwanhee, Cosmic Girls’ Yeonjung and Dawon, Gugudan’s Sejeong, Vromance’s Janghyun, Pentagon’s Jinho, K.A.R.D’s Jiwoo and Somin…yeah those are the ones that come to mind for vocalists who support who debuted between 2015 and 2017. I disagree, Produce 101 had much better vocalists.

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  2. If it’s not to much to ask, can you also tell me your opinion on these two lives by Victon? They’re a boy group that just debuted recently.

    First song: https://youtu.be/_33mtmIU_aE
    Their main vocal is the one with brown hair and a v-neck sweater on the top left – Seungsik. They also have two lead vocals: Sejun, the black haired one on the top right, and Seungwoo, the one with silver-ish hair on the bottom right.

    Second video: https://youtu.be/Ev-7K_BxRhk
    Seungsik (main vocal) is the one on the left and Sejun (lead vocal) is the one on the right.

    Thank you!

    Like

    1. People have asked about them before so here it is. Do you mind if it’s not specifically about the first video you posted?

      “0:16 He’s using way too much air, this is the main vocalist, right? 0:28 His F4’s could be more relaxed and more opened, but I hear support. He just uses too much air. 0:47 this other guy is very shallow on his support. 0:57 F#4’s tight for this guy singing at the left end. 1:10 airy, no support at all. 1:18 too much pushing, but better connection. 1:41 ~ 1:46 Lots of shouting, lots of pushing his sound just with a high larynx, G#4 to Bb4 range. 2:38 sloppy run for the main vocalist, too much air in his falsetto. 3:14 not bad harmonies, except for the runs. 3:29 He is really shouty, but is this guy really not the main vocalist? 4:23 too much air in his falsetto overall.

      1st video: 0:02 too much throat and nasal placement. He is pushing with a bit too much tension on the F#4’s. 0:08 A4, again high larynx, too much tension. 0:30 He actually kind of sounds like Huh Gak tone wise and his technical habits seem similar. Throat tension and air pushing is what I hear.

      2nd video: 0:13 Eb3 some projection but the 0:16 C#3 is muffled. His lower range is a bit too airy. 0:30 he has enough support but he is a bit shallow, up to 0:40 he sings from C#4 ~ F4, there’s a bit too much closed tension in his throat muscles and he is too nasal in placement. Up to 0:47 he went from F4 (If) and G#4 (last). He uses far too much tension from his throat muscles and closes his throat too much. 0:53 high larynx, throat closed and nasal. 1:03 very whiny and very closed. Why is his instructor not fixing anything he’s doing? There are so many issues going on.

      (2:38)

      Third video: 2:38 He is using falsetto in this portion of the song. It lacks support and the placement is a bit whiny.”

      I’m sorry but due to many reasons we won’t be guessing nor estimating a vocalist’s possible ratings without their analyses. So I ask that you be patient and wait until they’re analyzed, thank you. I do think they’re both tenors, Sejun is really in his throat in 지친하루, he is pretty pitchy too because he just doesn’t seem to be able to manage his breath and place his sound favorably to control his voice enough.

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      1. Oh, thank you for replying! It’s funny you say that he sounds like Huh Gak because they’re actually from the same company and are pretty close so that could be why. Also, I wasn’t really asking about their ratings; I was just wondering about your thoughts in general. Like if sometimes Seungwoo is too shouty or if Seungsik is too airy, etc. Sorry if I sounded too pushy. 😔

        Liked by 1 person

      2. Um, for your comment on 날 보며 웃어준다, you said “3:29 He is really shouty, but is this guy really not the main vocalist?” Do you mean that Seungwoo showed better technique in the song? You seem to have noticed quite a few flaws with Seungsik’s singing as well, and I think he’s the main vocal because (traditionally) main vocals are known as the ones who do the high notes and Seungsik is in charge of that in the team.

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      3. I think it was because the user who sent the video didn’t say he was the main vocalist, Seungwoo, or was it Seungsik? Either way, I wasn’t told he was a main but he was highlighted a lot in the song, so I was confused.

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    1. I guess the answer to this quarrel will come once they’re both analyzed as we do not wish to engage in petty arguments on Youtube.

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  3. Hey. First of all wanted to thank you for all the work you’ve been putting into this.

    My question is unrelated to Kpop but who do you think is the greatest vocalist ever?
    I don’t know if it’s possible for you to answer this question but thanks in advance

    Like

  4. Hi! So this is me singing All of Me after 1 month of exercising, I messed up some lyrics I know lol: http://vocaroo.com/i/s1dLH0m7SgCg
    I noticed that when I record without my speakers microphone, the quality is much better and I was actually surprised because I finally heard resonance from me, but I’m not sure. I think it would be much better if I knew the lyrics though

    I also sung a little snippet of Apink’s No No No: http://vocaroo.com/i/s0u0rOjGZrie
    I’m actually embarassed by this, I didn’t know at all the lyrics but I wanted to know your opinions on my vocals…

    Thank you for your kind words and advices Ahmin (sorry if I’m being cringey lmao), they motivated me to get better and improve myself 😄

    Liked by 1 person

    1. You sound really good in the All Of Me recording, I wouldn’t really say I hear straight up resonance but the support is clean and very consistent definitely up to C#4, with some inconsistency up to F4. I hear it being carried up there, but it just becomes quite a bit pushed and you tend to overuse the chest voice. You can relax a bit more, but the head voice transitions are really good too! This is really good, I’m so impressed with your growth!!
      The Ah vowel in No No No at the end of the bridge was a bit too wide, so he sound was a bit too tense and spread out. The notes afterwards were better in terms of shaping the vowels but there is still some pushing, but you’re improving so well my dear!! ^ ^

      Liked by 1 person

      1. I’m so glad to hear from you that I improved 😄😄 !!! Yes I can hear the pushing too lol actually, I think my vocal chords are pretty tired because I literally didn’t do any vocal warm-up before, so when I sing in a lighter way, my voice cracks :c and because of my old bad vocal habits, I struggle to mix after my second passagio without cracking (but the vocal exercises are starting to clear out my voice) or transitioning into head voice… I also feel like my voice is always gonna crack and push it a bit in order to hit the notes… But since I’m young (I’m a 2001 liner lmao), I guess my voice isn’t dead yet lol so I can deal with it for at least 5 months

        I wanted to ask if it meant that in order to have consistent support up to F4 (I’m actually surprised to support this note, even if it’s inconsistent, I mean … I couldn’t do this before 😅) and mix above my second passagio, I should just relax my voice a bit?

        Also, can I send you another audio of mine where I actually know the song lol? Those two audio are pretty embarassing 😐

        Liked by 1 person

      2. Relax your voice and allow the sound to move up placement wise a little bit more naturally without feeling like you have to push to get there. Sure you can lol

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      1. Thanks ❤ !!!

        I’m a baritone and I do this exercise each day:

        It’s really helpful! It’s a lot easier after this exercise to hear which notes you can support because your voice is more opened and relaxed after this. There are exercises

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      1. If you can’t really support and really stay within one key center, it’s hard to really expect you to be able to place your voice right. There’s a big issue where you keep changing the key center of the song, you kept going either too high or too low. You are not really opening up, you’re not really legato, you’re not connecting. How do you practice exactly? Cause the placement is not actually too inward right now, you’re bright enough, placement is not an issue I’d worry about for you right now. I love that Lea Salonga song btw. lol

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      2. Wait, what you are saying is that my voice is still somewhat forward? =_=a I dunno why it confused me since I keep hearing that my voice is stuck inside like something is blocking it. Is it because my throat is closed? I’m familiar with the pitch issue. I really can’t hit the proper note, actually, and I think it is because of my bad support since I have seen some tutorial saying that proper support must be established first to make it easier to learn the right pitch.

        My practice habit primarily revolves around during breathing workout and the Yayaya exercise. I would not really call it “practice” honestly, just random workout, I guess? I really have no idea how would I learn singing. I used to have a voice teacher but the only thing that she taught me is confidence on singing, so I stopped after the 12th session. I wish I could hire good technical voice teacher but I’m too far away from the city. I tried attending choir but they also don’t teach proper technique.

        I also love that song. Lea’s voice is really soothing, I love her. I’m glad she has a good technique and possibly the best among popular Filipina singers.

        I didn’t know that Baekho was there (I didn’t watch it actually, just listened since watching performance usually bores me unless I’m really on the scene) :O So, I’ll assume that he’s the only one who supports?

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      1. Based on what I know about support, I think both two notes were supported. However, I’m like “OMG! She can support up to F#5, so her supported range is equal to Beyonce, an excellent vocalist?” Therefore, I thought my hearing is not correct, so I decided to post the video here.
        So were they supported? Please help me, thank you with love.

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      2. Oh! So to you it sounds supported? I’m afraid they’re not. They’re really really throaty, really scratchy, and shouty. I hear no support at all.

        Liked by 1 person

  5. I don’t quite understand the “supported range without head voice” part. How is the clear distinction made between the chest to head voice? I’m confused because I thought they were all connected and it depends on where you want the sound to resonate more.

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      1. plus
        chesty – Queens of chesty mix Miss lee sunhee and miss ailee lol , BoA can be chesty too
        balanced – shannon ,Younha , lina, Narsha ,yeonji, sunye and Yeeun i would say Haeri too
        heady – Dana , eunji at times

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  6. in this recent comeback( Love whisper) do yuju and eunha improv I think her consistency is improved and and eunha produced a little bit of support( shallow ones)

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    1. I wouldn’t call this opened, but I wouldn’t call it strained. I’d say support is being carried up. Let’s just wait for his analysis, I’m not sure about anything when it comes to him.

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      1. I’m sorry. I just thought you could just at least give a glimpse of analysis for her for i have seen you entertained to make Siti Nurhaliza one. Sorry for my mistake Sir. I mean, i’m not expecting a whole analysis for her since this blog is for Kpop Artist. Just a glimpse. BTW Sir. Im a fan of this blog. Godbless

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      2. but sir, could you by any chance give me a glimpse of analysis about her voice? she’s my favourite singer in our country. Jebal 🙂

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  7. There doesn’t seem to be any analysis on contraltos here. Would you know (or have any theories) as to why they’re so rare or even non-existent in K-pop? Same with the general lack of basses as well.

    So far, the only true contralto I’ve heard of in modern J-Pop in Keiko from Kalafina. It’s not K-Pop, but it’s so dang hard to find any contralto currently in the scene. I’m curious as to what you think about her, because she has one of deepest, darkest tones I’ve heard produced by a female in pop music.

    No in-depth vocal analysis needed, just wanted to hear you thoughts, ahmin. Thanks so much and I love this blog! I’m self-teaching myself how to sing and this vocal analysis blog has been a godsend as to what are good habits and what are bad. Keep up the good work!

    Like

    1. Well this isn’t much different in pop music all over the world. Who can you name who’s a young pop singer in the US or UK who’s a real contralto?
      This Japanese singer, I don’t think she’s a contralto. She sounds like perhaps a mezzo or even a soprano pushing her larynx down all the time while she’s singing, which makes her sound darker than she natural is. I’ve heard more manly sounding mezzos in K-pop than her, most of the older ladies that I’ve heard in K-pop who could be contraltos may or may not be mezzos, but for young vocalists? That’s a rare voice to find in general, not just because of the reality of the music industry, but because it is a rare voice type all around. Awww no problem! I’m glad we can help!

      Liked by 1 person

      1. Young pop contralto? Basically non-existent, I can’t name one haha. Yeah I probably agree that she’s a mezzo who pushes her larynx down 24/7 when singing. Does that mean she’s still singing with support? I know that support includes singing with a neutral larynx, but the way she does it seems like it’s still supported and resonant even with a lowered larynx.

        I’ve heard that lowering the larynx muffles lower notes, but is there anything you can hear in the way she does it that makes it so that the notes are projected more? And is it unhealthy to sing this way? Or is she just a special exception whose voice doesn’t get damaged over time (as she’s been in the industry for more than 10 years and hasn’t show any sign of vocal damage in the slightest).

        Sorry for bombarding you with questions – I’m just fascinated with low notes and find them more enchanting than those who belt out high notes all the time.

        Like

      2. I don’t personally hear support when she sings unfortunately. Support can be done with a low larynx in a classical way which isn’t what she’s doing. I hear mostly unhealthy constriction. Well how old is she now?

        Like

    2. If I’m going to be honest, I think contraltos are non-existent in the k-pop industry because k-pop fans prefer either cute high-pitched voices, or a womanly voice. Contraltos wouldn’t be popular in that industry. It’s such a shame.

      Here’s an example of a contralto in Japan (https://www.youtube.com/watch?v=mdLydN0liYQ). She’s pretty old, though.
      But I just wanted to show the sound of a true contralto. When you can’t tell if it’s a man or a woman singing then they’re most likely a contralto. For example, growing up I always thought Cher’s songs were sung by a man lol. Keiko’s voice, on the other hand, is clearly very womanly 🙂

      Like

      1. On first listen a lot people always thought Keiko’s voice was a guy’s haha.

        I thought contraltos usually sounded like a tenor if a tenor had a feminine voice, but I see now that a contralto should sound very very manly.

        It’s weird because the person who composes her songs, Yuki Kajiura, has composed hundreds of songs for many artists and claims Keiko is the “best contralto in Japan”. Maybe she means that Keiko is great at singing the contralto parts, but she herself is not a true contralto.

        Still, she’s a got a deep voice that you don’t hear very often in pop music, and that’s why I love her. ❤

        Like

      1. Let me tell my opinion park ki young weaknesses are her very weak airy low notes (its ok she is a soprano) her extremely heady mix and her tongue tention am i right or wrong? And sorry if i said something stupid i just started getting vocal lessons 😦

        Like

  8. Hello Ahmin! I’ve seen you do some sort of mini analysis to some followers of this blog regarding their singing so I also want to ask questions about my singing. http://vocaroo.com/i/s0JahT48r7o7. Do I support my voice? How did I do overall? I kinda like singing and I learned a lot about it through this blog and your youtube channel. Thank you so much.

    Like

    1. Are you a trained vocalist at all? You’re generally relaxed, but there’s too much breathiness and air being pushed in your upper range. I hear tongue tension in some parts of your range, your pitch is nice and in the lower part of your range for this it was relaxed, but the upper mixed parts, it was mostly a bit too aspirated, too much air coming through the vocal cords. You have potential because your basics are there for pitch and rhythm, but the technique is just not really developed yet. You did well enough if you’re untrained! ^ ^

      Like

      1. This key may be just a bit too low, you’re still pushing a bit too much with air. You are REALLY rushing this song. The tempo is much slower than this, but you sound like you’re out of air because you keep singing it too fast. Near the end of the chorus, you started to slow down and be more comfortable. 1:00 flat there. You sound relaxed and your lower range isn’t bad, a bit too much of a fry quality when you sing for those lower parts. Shinning through, you’re too thin and not really allowing the sound to be placed forward. 1:30 the run was a bit too guessed, again it just sounds like you’re rushing. The last runs and adlibs sounded like they lost the key center for some notes.

        Like

      2. Thank you so much! I guess I still have lots to work on about my voice. Thank you for your time and effort!

        Like

  9. Are you familiar enough with Seo In Guk to make a comment about his skill? I think his voice is nice but technique-wise, I think his support is really weak. I can actually hear glottal tension in some higher notes.

    Like

  10. hi~ i have many question, correct me if i did wrong

    could you please take a look at this video? who do you think has the most support? is it elkie, number three from left? or seunghee, or seungyeon who is far on the left? i almost think it’s elkie? elkie is not shaky when she sing. but she can be just shout it out the note to sound stable, i’m really not sure. note on 03:10 is strain and shouty. seunghee is nasal and note after 03:10 that she take is strain. sorn lower range really not supported and airy. i don’t know about seungyeon, she sound okay? her lines is too short. number three from right is rapper, she is not shaky but nasal and stylistic.

    no one on this video that support the note.
    and could it be seunghee is full lyric soprano? her voice sounds womanly but with bad tehnique and high larynx, her voice sounds thin.

    Like

    1. I don’t think this is a good song to talk about their singing. “Stable” are you really using stable with me after I made a video about this? lol Elkie has almost no support at all, I just hear throat and a high larynx. And these high notes are too high for all of them, none of these girls support above Bb4. I am familiar enough with CLC to know that Seunghee has shown the most development in support, but she’s not very consistent with it. Most of the chorus is Bb4 and above, which is useless considering they don’t really support there at all. This isn’t a good song to talk about their singing whatsoever but I’ve heard enough of CLC. No, I don’t believe Seunghee is a full lyric at all.

      Like

      1. no.. i’m not use stable here, i’m use shaky, cause i know if i use stable you gonna angry with me lol i just can’t find word to description “not wobbly”. thank you

        Liked by 1 person

      2. could you tell me who has better tehnique between sorn and elkie? even if she is new member but she already lead vocal together with sorn and seungyeon. and are you already decide whom you gonna analysis after seunghee?

        Like

      3. Unfortunately I could not because I do not know the answer off of the top of my head. Also, I don’t believe there are plans to analyze anyone but Seunghee for now.

        Like

  11. Hi there!!!! I just made a cover of ITNW. Would you mind checking that out?
    https://www.speakpipe.com/voice-recorder/msg/ebjzi5j1yw564lor
    I picked the ballad version because i thought it was easier for me to sing that over the original version. I believe i don’t support, but besides that, i’m struggling on the ”high notes”. I guess I can’t go very high. Is it because i’m not a soprano or is it because i’m not trained?
    Btw keep up the good work!

    Like

    1. You sound more natural singing this than Miracles in December, because it’s in a range that’s for your voice. You kept going flat throughout the verse and dipping lower and lower and changing the key slowly, little by little. Every time you go too flat, you kind of change the key of the song a bit. I don’t think you’re not necessarily a soprano, I believe you’re just untrained. Your throat isn’t opened, you tend to narrow the back of the throat which causes you to go flat, which makes it harder for you to hit higher notes, you don’t really lift your soft palate and you don’t really connect the vocal cords enough and stretch them correctly. Of course this is all hard to do if you’re practicing on your own, have you been able to figure out the support exercises? Two note exercises? I would recommend not singing in Korean if you don’t speak it as that can get in the way of your diction and openness a lot. Even if you sang in Greek, I wouldn’t mind.

      Like

      1. Wow you’re reeeally fast!!!! I kept changing the key because as i said i struggled with the high notes and as the song was getting higher,i was trying to be comfortable by going ”deeper”. So is there a chance of me being a soprano?? As for the support exercises, i don’t know how they’re going. Sometimes i catch myself going ”paaah, paaah” in random moments I’m often missing some notes. Also, i don’t think there’s any greek song that i can sing – either they’re really dumb and just trying to be catchy or they’re very difficult for me, there’s no in between. I also tried to sing IU’s Heart but it didn’t go well. If there’s any other song that you would like to recommend…i’m happy to be informed!

        Like

      2. Instead of hitting random bas, do try to sing the two more exercise from the video. You could be s soprano yes. How about English?

        Like

      3. i think i can do english…i’ll try to find songs that i’m most comfortable with and i think these kind of songs include using falsetto and head voice. Last questions : did you notice any (minor) improvement? What other exercises can i do?
        A: Breath exercises
        B: Agility exercises
        C: Nasality exercises
        D: ALL OF THE ABOVE

        Like

      4. But I’d really just rather hear you practicing vocal exercises? I think that the support two note exercise is the best to engage stretch, support, pitch and airflow.

        Like

  12. I’m not sure where to put this question but, who’s the guy on the left of the picture at the very top of every page (behind the site’s title)?

    Like

  13. Not related to Kpop but I seem to have a problem in prolonging notes. Like this song that I’m planning to sing in our school’s band audition. The problem is when I prolong a it’s very boring to here…

    For a beginner, do you think that I should change the song? If so, can you recommend me a song?

    Like

  14. Hey Ahmin, I’ve been stalking this site for a while and I have to say, I really do appreciate the work you put into this, especially since I have a new perspective of what really makes a good singer. I was wondering, is it okay if I post a cover for you to judge, even if I have vocal cord issues? I just want to see what I could work on, especially when it comes to breath support, because I have trouble understanding it and using it for singing. Thank you, that’s all!

    Like

  15. Hello again i bet you get that question a lot and i dont want to be annoying but i really want to know
    Is rose better than jennie or vice versa and is lisa or jisoo better? I get they are all really weak vocalists but i need to clear some things up in my head

    Like

  16. Ive been curious about this for a while and thought you might know the answer, while its pretty obvious who the top 3 vocalists in exo are (kyungsoo, baekhyun and chen), who would you are the best vocalists after them? ive seen some ppl say suho while others say chanyeol. somehow.

    Like

    1. She sounds much closer to supporting than many other members of TWICE or even GFriend’s Eunha, they all have that high larynx, closed throat, nasal, thin approach but she is singing in a more natural way, it’s a lot smoother, more opened, relaxed. I wouldn’t say it’s full on support but it’s much closer to getting there, because the quality can be shallow, but it’s so so close.

      Like

  17. For some reason when I try to “mix” it sounds really twangy (if thats a thing) and unpleasant. The quality of it is very different from both my head and chest voice. Am I even mixing or am i just adding a twang to my head voice??

    Like

    1. It’s completely a thing, twangy is a very common term in contemporary singing actually. I am not sure though, I’d have to hear it. There are many girls who use a twangy head voice and fake it sounding like a mix and get away with it many times.

      Like

  18. clc cover flashlight song at concert

    could you take a look at this?
    elkie part 00:13-00:25, 00:38-00:52, 01:18-01:31, 02:49-02:59.
    sorn part 00:38-00:51, 01:32-01:41, 02:11-02:15 and highnote 02:17
    seunghee part 00:55-01:17, 01:44-01:57, 02:34-02:35, 02:44 highnote.
    what do you think about them? from what i know elkie can held her notes (on pitch) but she throaty. sorn quiet airy and whispering. 02:11-02:15, 02:17 airy, not sounds full. seunghee sounds okay, she indeed the most support here but when comes 02:44 she really tight on throat.
    02:49-02:59 that is headvoice, right? but the runs sounds out of control.

    Like

    1. 1:15 slightly flat. It’s hard to say much cause the instrumental is way louder than their voices and the quality just isn’t very clear. I hear a lot of shallowness and breathiness from Elkie. I hear support from Seunghee up to Bb4, with a bit of constriction. 1:25 I hear a shallow quality here. Sorn doesn’t project very well in the chorus. Also I don’t really need time stamps for this because the video shows who’s singing. I need time stamps when you’re asking a specific question, this isn’t specific. I appreciate the effort though! No need to give time stamps for high notes when it’s been established none of them support in the fifth octave. 2:15 those high notes are head voices, unsupported head voice from C5 to E5.
      2:35 C5, unsupported for Seunghee. Sounds closed and underdeveloped. 2:44 same thing, it’s not too tight actually, it’s just underdeveloped and kind of closed. Good observations! ^ ^ 2:49 yes head voice but pitchy on the run and generally unsupported.

      Like

      1. thank youu 🙂 whether breathiness and airy two different things? may i know what breathiness means and how they sounds?

        Like

  19. hello, ahmin
    i still have a question for identify falsetto/ airy heady mix

    6:53 are these airy heady mix voice? (C#5 C#5 C#5 D5)

    I remember you say eunha singing high note with a high larynx
    and i think yuju is high larynx plus shouty (start from D5)
    if only consider a high note above D5, who will be better (less damage)?

    Like

    1. No, those sound like a breathy head voice to me actually. I don’t understand the purpose of comparing two kinds of strain and saying who’s straining slightly less than who but considering Yuju keeps her larynx neutral below C#5 and has had a supported F5, we can assume Yuju does better in general above D5.

      Like

  20. Hey Amin,
    I am reaaaaaally a big fan of you, I keep watching your posts and videos and cannot wait for the upcoming ones!!
    I really learnt a lot from your lessons, especially the tips on how to sing are so useful! And it helped me a lot because I can’t afford vocal lessons because of financial reasons…
    I learnt how to breathe from my diaphram and now I can hear my voice is a bit stronger and has more control…
    However, I was on a karaoke night with friends, I sang all the time with my diaphram and I didn’t do anything that can harm my vocals, however, 30 mins later I noticed that my throat hurts and couldn’t speak easily…
    How can I know where the problem is ?
    Maybe the range that is supposed to be supported is actually stained!!
    With love,
    Your fan from Middle east, George A.

    Like

  21. Okay that was really embarrassing- Could you please delete the above comment I accidentally sent before typing out my full comment? 😭

    Anyways, Hi Ahmin! I’m always here reading your comments but I’ve been meaning to ask something for a while now. Why is that when I do vocal exercises and I’ve warmed up my voice, that I then find it incredibly hard to access my head voice’s higher range? Is this something normal..?

    Many thanks!

    Like

    1. Have you ever sent a recording? No, right? You said you have vocal cord issues? What kind of issues? Your sound is not usual to me. Sure it’s not like the best technique or anything like that but it’s more than just that. Your sense of pitch is fine, you know and you can hear the melody and emulate it, but the sound is so airy. There’s so much blockage going on directly in the vocal cords, they sound almost numb like they can’t really connect almost at all. It’s not something I’m used to hearing, so could you elaborate on your issues?

      Like

      1. I knew it was bad lol, but about the issues, I was diagnosed to have laryngitis a while ago due to oversinging and straining a lot, and I couldn’t talk for a year. So this probably wasn’t the best idea! But you’re right, I can’t really connect my vocal cords, because if I try, I end up cracking (pls tell me it isn’t nodules D:) But anyways, thanks for taking the time to respond, I’ll make sure to focus on my recovery only and take a break from singing in general!

        Like

      2. Have you taken enough rest? Actually if you aren’t able to talk for a year, this means your vocal cords can…well…there’s an atrophy that can happen because they’re muscles, so that explains why they sound so underused and underdeveloped. You’d have to go through speech therapy and retrain the muscles slowly because it’s like learning to talk again.

        Like

      3. Well now that the school year ended, I pretty much stopped talking, which now I realize is bad lol. My parents have been given the option of speech therapy, but outright denied it so maybe I’ll just go convince them again. Anyways, thanks for helping me out! I’ll make sure to post another cover once I recover (prob like a couple years later XD), again thanks!

        Liked by 1 person

  22. Hi Ahmin, it’s my first time to comment here, even though I’ve followed your blog for quite a while.
    So, I kinda nervous about this, but can I ask your feedback for my singing ? I really enjoy it, but I don’t know whether my technique is damaging or not.
    Here are the clips :
    Do you know davichi ver
    http://vocaroo.com/i/s1mHDRuKRCTZ
    Surrender Kpopstar6 ver
    http://vocaroo.com/i/s1jqzWwTXUml
    Sorry I Am Happy Davichi
    http://vocaroo.com/i/s1wFR6agF9Xw
    I know that they are all short, but could you analyse something from them ?
    I am looking for your feedback!

    Like

    1. Hi dear! Let’s see what you’re going to show me!
      0:02 These are B4’s …throughout, you’re just singing in head voice for the first clip, when you should be able to be a bolder and dive into your mixed voice more. Your head voice isn’t badly placed, but there’s too much air passing through the vocal cords and you are just not showing me the power this needs because assuming it’s a davichi song, it should be belted. Surrender is nice, you’re showing your chest voice and it’s not just head voice, you don’t seem to lack a sense of pitch. Your voice is very nice, but you seem to lock the song into a very low chest voice placement, or not too low but it seems like you’re scared to keep the sound going higher, so instead of allowing a mix to help, you run away from it by flipping into your head voice earlier than you need to. The highest note in Surrender was G#4 and the highest note in Sorry I Am Happy was A4 in mixed voice, near the end you flipped into head voice for D5 and C5. So for what you’re doing right now, it’s not damaging. It’s just too safe, you’re not exploring how much further your voice could be developed because it’s a very nice voice and it can do a lot more than what you think it can do.

      Like

    1. Why is this not in the Sohyang analysis? Well it’s simply because when some people get tired, their mixes become headier cause their chest voices get too tired to be stretched up as high as usual. That happens to me too, actually.

      Like

  23. I know i should not believe in Mr Removed but did Nayeon even support in this video. From what i heard she seriously lack of project. She sounds closed and her legato is not good at all. Am I right?
    Also, does the size of teeth have anything to do with singing because i feel like Nayeon’s front teeth are too big they may block the sound in some ways?

    Like

    1. I don’t think these pop songs are good to talk about their vocal ability. I usually go for other songs, songs where they’re not singing short, staccato upbeat songs. 1:03 she is kind of flat, but she is kind of half talking for some other parts. You are right she is very closed, Nayeon does not have the most opened approach in general. The size of the teeth shouldn’t be a problem if you can drop your jaw.

      Like

  24. hi~ here is few video of clc seungyeon.

    she sing u go girl from hyori. not a good song to showcase vocal though. but video of her singing is so rare. she start at 00:32-00:48. she was on pitch, she was not airy like sorn, but tight, then nasal and i think it’s not really her sound cuz she trying to sound cute to follow the song. then 01:29-01:47 she started become wobbly and tight on throat.

    she start 03:10-03:16. sounds relax, but a little low larynx, she was not much airy like sorn or seunghee, 03:16 low note is unsupport. 03:17-03:50 she started nasal and tight on throat.

    what note seunghee did at 08:37? and at 08:41-08:42? that was head voice, right? it sounds thin.
    could you give me enlightment? when someone sings with shallowness, how she/he sounded?

    Like

    1. Seungyeon sounds generally pretty nasal and shallow. 3:10 she is lowering her larynx and pushing the sound too low. She is going all the way down to E3 though, that is pretty low. 3:44 She is pretty throaty around A4, she is using a very low approach for a range that should be a bit lighter for her. I think the highest around 8:37 was D6. 8:41 F6 here. It’s a high larynx thin head voice yes. A shallow quality is very small, flat and kind of lacking in depth. They sound like the sound is locked in a box, it’s generally muffled and it doesn’t feel free. It’s really hard to explain without showing examples.

      Like

  25. Hello Ahmin,
    I am a 16 YO male that can get from D2- G4 (not supported) A2- C4 (supported), I really have improved a lot from your lessons, thanks to god that your are helping 🙂
    I have a general question about male singers…
    Is that true that their voice keeps getting a little deeper after puberty? and how about girls too?

    Like

    1. Hi dear! I’m so glad to hear! Everyone’s voice gets deeper after puberty…literally everyone. Even girls, although their passaggi don’t change as much as men. But a child’s voice is drastically different than an adult’s voice, so during puberty we change and after it takes sometime before we settle into our adult voices. A 19 year old will sound quite different from a 27 year old, just because of aging.

      Like

  26. Hi Ahmin. What do you think of Ken Tamplin? He has an online singing course which I really want to buy but I’m quite hesitant because of the price and just by the thought that the technique he teaches may not be good. Could you advise me?

    Like

    1. Yes. Don’t. lol No but really, let me explain. I don’t mean this as a personal attack nor a diss, but just logically. He promotes himself as a very credible instructor but all his credentials are completely related to his career as a producer, songwriter, singer and artist, not as a vocal instructor. None of his credentials have anything to do with vocal technique, nor learning nor teaching it. Now more so than the videos where he’s lip synching to his own pre recorded tracks, he carries a lot of tension when he sings in general. He squeezes his throat a lot and I tend to notice a lot of tongue tension too… so I personally would put him in the Christina Aguilera online course umbrella, and just not really buy into it. I wouldn’t personally trust them to teach me technique.

      Like

      1. Aww, thank you for explaining and confirming! I won’t buy it then. It’s just, I’m finding it really difficult to look for a good vocal technique around me 😦 I only found a couple and they teach SLS but apparently that’s not good?

        Like

      2. SLS isn’t bad, it’s just a problem when they don’t focus on breath support as much because then they create vocalists with wide ranges but really narrow support and shallow approaches. It varies of course.

        Like

  27. When actually someone’s vocal type can be guess? Like oh he’s gonna be tenor, oh he’s baritone, she’s soprano, she’s mezzo. Is it since they’re young or maybe early teenage like maybe 15 or so? I know some mature/exact vocal type when they’re old enough like 20s but just curious tho.

    Like

    1. I’m not sure because it depends on how done with puberty they are. Like Justin Bieber’s voice didn’t drop till a little later.

      Like

  28. When you’re resonant does it make you dizzy/light headed? Sometimes when I listen to people sing with resonance I kinda feel like that

    Like

    1. Not necessarily, but if you’re not used to it, oftentimes when people sing with a head placement, they feel dizzy. So it could happen I suppose.

      Like

  29. because clc having come back, i keep following them. how she doing here?

    from 00:01-00:31, i heard nasal, unsupport, airy, closed.
    this is how shallow sounds heard?

    Like

    1. Yeah I noticed you keep asking about them everyday. This is how shallow singing sounds yes, I wouldn’t say she’s super closed but generally nasal, unsupported and flat quite often.

      Like

    1. I am not going to talk about support for Sooyoung, Yuri nor Yoona, especially not on a performance where they’re dancing. I’m sorry, but I just don’t see how that makes sense.

      Like

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