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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9,339 thoughts on “About & Our Criteria

  1. How about Joy Red Velvet? For the video reference beside from RV official mv, Joy also has Station song entitled Always in My Heart, she also ever joined Masked Singer, and sing some osts in The Liar and His Lover. Orrr u can watch her singing live in Yoo Hyeol Sketch Book

    Like

  2. Hi ahmin! I don’t know if you remember me, but a few weeks ago I posted a few recordings of me singing (Jooyoung and Hyorin’s “Erase”, BigBang’s “Blue” and WINNER’s “Fool”; these are in the comments thread for this article on August 18th). You identified my main issues to be using too much air/tongue to ‘guide’ myself to different notes and not being open enough/not dropping the jaw enough causing some nasality. I never got around to asking, but how would you go about fixing these problems?

    I’ve made some recordings recently, there’s more Engrish in these ones haha. Would you mind having a listen and seeing if I’ve improved in the above aspects in any way?

    Ballad: Adele’s “Chasing Pavements”
    https://vocaroo.com/i/s0RhuSSFSRjN

    RnB-ish: McKay’s “Angel 2 U”
    https://vocaroo.com/i/s0OfnwZSONME

    Like

    1. You’re the one from Australia, aren’t you? 0:13 don’t sing until you’re running out of air cause then 0:15 you’ll sound like you’re gasping for air. 0:21 too much Hee-hee-hee’s, use les air. This sounds really good, this is much better than sending those other recordings. Your pitch is much better, you sound more comfortable. Good key for you btw! 0:49 don’t hold back, you’re kind of hesitating and so you are kind of thrusting your jaw forward and keeping the sound a bit closed, which also causes your vibrato to be kind of wobbly. Right, so have you seen the vocal tips for K-pop fans videos? Cause there’s one about support that’s really good for you and one about tongue tension, although your tongue is not really showing major issues here in these recordings. 2:14 you do this thing when you sing lower that is like the typical indie kind of diction, where you don’t sing “Up”, you sing “U-ee-p”..you do it also when you sing “Just” before the last chorus. It’s funny, cause you don’t do this for the rest of the song. I think you sound really pretty, but there’s no real growth in the song. There’s no dynamic change, you don’t really get any louder, anymore powerful and I think you could grow more with the song because it would sound even better! This key and range are good for you so I really like this song for you!

      These recordings are much better than smule, but I keep hearing the wobbly kind of too fast and uncontrolled vibrato and you keep holding back on your diction. You can open up more, do it by dropping your jaw if anything.

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  3. I just want to know what you think about rosé’s technique in these videos (sorry,you can ignore the other singers). I’m taking into consideration the fact that you are familiar with her past videos, may i ask if she has showed improvement? I think these videos are better than her past song covers but i’m no expert. And i don’t really know when to seperate nasality from tone, i’ve heard she can get nasaly but her tone in general is quite like that so i’m not really sure. I would like to see stronger support from blackpink members.

    Like

    1. This has been asked about and answered so I shall copy-paste:

      “She lacks correct management of air versus the stretch of her vocal cords, so there’s a slight shaky quality in her singing because her vocal cords just don’t stretch with enough tightness to manage those notes well, even the F4’s throughout the verse and pre-chorus. 1:57 very quick Bb4’s, too quick. 2:00 not a bad transition, but very disconnected falsetto. 2:04 Bb4’s up to D5, I hear a lot of pushing, a lot of tightening up her throat and just shouting these notes out, not really supporting here. 2:08 I am not sure I would say she manages to support Bb4 just yet, she seems to have more tension than support here.

      1:38 G3’s, and lower notes just aspirated, barely any connection. Quite a bit of nasality. 1:57 her diction is generally pretty close. Omg..that was all she sang for? You really could have given some time stamps for this, like….seriously.

      0:40 for Adult Child, they did not blend that harmony well. 1:34 When she phrases Bb4’s, she can carry some support up there, but she has too much tension when she sustains them. Okay, this makes things clearer. 1:58 Rose needs to learn to blend more in her harmonies, but that would require her to match how the other vocalist is singing..meaning changing her placement, so not being nasal. Again this was short, a time stamp would have been nice.”

      Like

  4. Hey ahmin, I wanna ask you something about me that is kinda making me crazy (?), everytime I try to hit a note on the fifth octave it comes out in an octave below, like: I’m supposed to hit a D5 but instead I hit a D4. This only happens with the notes on the fifth octave. I think this may be because of my fear of the neighboor hearing me while I’m singing higher (?). I just know that this sucks. So, do you know why this keeps happening? Did you already see something like this?
    PS : I’m a girl btw

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      1. I wish… I don’t have a decent mic to show you this ;-; So I guess, without a recording, you can’t answer me, right?

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  5. I’m pretty sure you’ve already been asked about this. But I just want to know if Taeil supported the high note at their cover of “The Little Prince”.

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  6. I’m a beginner to singing so please don’t mind my dumb question.

    I’ve heard there is two types of singing, singing in head voice and chest voice. However, I have heard that some artists (K-pop or not) sing through their throat. Is throat singing a result of failing to reach head voice?

    Like

    1. There is chest voice mix voice head voice and some fake registers like fry whistle and falseto… Basically if you are throaty you sing from the throat (correct me if im wrong ahmin) we should always sing from the diagraphm and stomach

      Liked by 1 person

  7. Hey Ahmin, I just wanted to ask something: How I can know when my vowel shaping is too wide or constricted? And how to keep the vowels opened ? Thanks 😄

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    1. Do you look in the mirror? Make sure the sound is coming from a dropped jaw, not a wide lip shape. Lifting the soft palate also keeps the back of the throat opened!

      Like

  8. Hello there!!…Ahmin…ive been practicing with the 2 note exercise for over a month now…i should be able to improve something if im doing it correctly right?…i really dont know if i ever did improve….so can you please listen to my short cover of wildflower…haha…i used your key…i know im a tenor..but i dont have tge skills yet….

    https://vocaroo.com/i/s19omA9vusvg

    Like

    1. Hi dear! I actually was expecting and hoping you’d send me an audio of yourself doing the exercises instead of singing a song. It’s easier for me to listen to you if I hear the exercises cause then I can tell if you’re doing them correctly or not. Also you’ve never shown me your singing before, so I can’t really say if you’ve improved or not. I hear a few issues, I would advise you not to sing in Korean because you’re mispronouncing the words and the accent gets in the way of your diction which gets in the way of your singing. I’d rather you sing in a language you can speak comfortably so that the diction won’t be a problem. You have a few issues with flat notes, but then you get back on the pitch right away even if you go flat, but be more mindful. Nasality and the jaw not dropping is an issue, again on and off. And I’m sorry, but who said you’re a tenor? You don’t seem like a tenor to me.

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      1. Oh..i see…ok ill do that someday….and actually i showed you my sing of chen-lucky on chen’s analysis section….and you said im a tenor…..here’s the audio anyway did i support?…

        I can use pure chest up to eb4 and start mixing on e4…..anyway

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      2. Was this what I heard before that I thought was you being a tenor? I do recall this audio. No, this is too high for me to expect you to support. Actually I might have been wrong and I do apologize for that, this short clip isn’t enough for me to be sure of you being a tenor or baritone but the other one makes you sound a lot more like a baritone.

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  9. Ahmin, Feliz aniversário! Parabéns pelo blog incrível, pelo esforço e pela sua dedicação❣ ❤💕💝💖💘💗🎤🎶🎉🎂🎈

    Like

  10. I don’t know much about sharps and flats but I do recognize when something is off. Thankfully, this site enlightens me. Makes me want to learn music theory.

    Kdrama OST is my window to K music industry. I’ve been listening to Park Hyung Sik lately and though I wanted more power initially, I came to like the soothing and calming effect of his singing. Is it inherent in the quality of his voice or is it a result of what you say support? Or both? Thanks.

    Like

  11. Hi, could you help me with something?
    this part is usually Eunkwang’s but he was absent for this performance. I’m trying to figure out if this was Eunkwang’s recorded voice or Hyunsik singing, specially the first two lines, i just have a hard time distinguishing his voice when he goes all screamy from any other high pitch

    1:35 2:40 and 3:30

    also, hyunsik’s technique: always bad, bad in upper register or SPEcially bad when singing high?

    Like

    1. I think this is lip synched and those higher notes are all Eunkwang’s voice. Either way these are Bb4’s and C5’s, which are way outside Hyunsik’s or Eunkwang’s supported ranges, so it only makes sense. Hyunsik’s technique is generally shouty, pushed and tense but becomes specially shouty the higher he sings, logically.

      Like

  12. Oh no…no need to apologise its my fault, I gave you very insufficient material ..silly me… always thought i was a tenor but then again i felt like g#2/a2 were too easy for me to be a tenor…or is it possible for me to be a tenor with very good low register?…it is also good to be a baritone dont get me wrong…is it possible for a baritone to be able to hit higher than F#6 in falsetto (its my brother)…..and maybe tomorrow ill show you my 2 note exercise..if you’re still willing to listen to it…cos now its 11 pm here so…so sorry to bother you a lot…im actually thinking of taking lessons officially from you….

    Like

    1. It is possible for F#6 to happen for a baritone in falsetto, perhaps. I would really like to listen to you singing with the two note exercise. I’m not 100% sure of your voice type yet and I do apologize for that.

      Like

  13. i really wanted to ask. who’s the best vocalist on produce 101 season 2? i know that dongho supports, but was he the best technique wise or is it jaehwan who ended up in wanna one?

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  14. Hi, this is my first time sending a voice recording of mine. I want to know if I’m a baritone or a tenor because I’m still not sure. I was a tenor in a choir but I’m aware that it doesn’t mean I’m actually a tenor. I also want to know if I am supporting.

    I used to sing with a lot of air but I think I kinda improved because I do vocal exercises always. I am curious with the things that I need to improve.

    Here is my voice recording: https://vocaroo.com/i/s0sPaNRQbJSW

    Btw, I really love this site. I learn a lot of things and it’s so fun to read.

    Like

      1. I’m not an admin but I would like to learn more about vocal knowledge and assess my own knowledge. I believe your did not lift your soft palate enough , it sounds closed to me, and you pushed and which made it sound just loud and tense. Also I heard jaw tongue too . You should do more breathing and try to relax more. Drop the jaw lower and open your mouth fuller.
        I will let ahmin continue. Don’t listen to me ^^. I just want to practice my hearing

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    1. I went to check Akbobada for the original key. It’s D. Rose sang it 3 semitones higher than Jung Seunghwan, so her key should be F major.

      Like

  15. Have anyone asked you about Momoland’s vocalists? I’d like to ask you questions about AhIn. She’s a main vocalist of Momoland. She started singing around 1.36 so I wanna know if she supports. For me, she sounds supported but her placement is sometimes tight and nasal.

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    1. She’s slightly nasal, I think it’s because of her accent. Aside from this, I’d say she supports. I think it’s mostly the accent, she is pronouncing her R’s too harshly and that gets in the way of her diction and openness. I don’t believe anybody has asked about them yet.

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  16. Hello there!..Ahmin…as promised im showing you my 2 note excercise….i know you might be a bit mad for how i did it because i think my pitch are quite bad as i did not use any instrument ….sadly i really dont have any….im very open for any criticism….you can say all you want…as for my cover of wildflower…did i support at all?..if i did fron which note till which note?…anyway …here you go..
    https://vocaroo.com/i/s1ZLMuW68zS7

    Like

    1. Hey not not bad! Your pitch isn’t bad at all. You could drop the jaw just a bit more in the beginning. When you get higher you start to get flat and not really hit the top note full on, also you’re pushing a bit too much air. You started singing semitones. You don’t have to go too high, just go up to E4 and that’s enough. In this you went up to G4, and that can be challenging. Make sure you drop the jaw, watch yourself in the mirror and don’t let that extra puff of air come out when you stop the note, cause you did that every single time. Wildflower, it was too closed in diction, there was tension from the diction that blocked off any form of openness, there was just enough space for support in the way you were shaping your throat. Don’t try such difficult songs yet. This exercise, keep focusing on it, do it even a bit slower and again be patient with your process.

      Like

      1. Thank you so much for your comments!!!….ok ….ill keep on practicing…so it is confirmed that in a baritone?…since you told me to sing just up to e4 coz i know thats high for baritone….great!!its so good to know my voice type…now i know what song to sing… I really appreciate your time…maybe ill get back to you in a few months!!…

        Like

  17. hi~ do you know dimash? i just find interresting video, i don’t really thinking about the title of video though.

    tell me if i’m wrong, on here 01:06 that was high larynx, strained, and then pushed head voice. 02:14 i don’t think that supported. 02:43 high larynx or tight i don’t know it doesn’t sound right same with 02:51.
    when came to head voice, i think here is where he’s good at. 07:38 he is supported, but doesn’t ringing like i found on so hyang. the sound like “ting ting” on my head.. whatever, just forget it. 08:00 was supported, is it resonance? 08:23 sounds nice, little pushed. what note on 08:38-08:44? on 08:39 i don’t hear tightness or pushed note. please, tell me if you found some of time stamps resonance or not, i want to listen it again. thank you

    Like

    1. Dear, this is not K-pop related and I’ve heard enough of Dimash not supporting, including his head voice. I can take one or two time stamps for a vocalist who’s not K-pop, but this is a bit too much.

      Like

  18. Hi Amin! First of all, as this is my first time leaving a comment on the blog, I want to thank you and the other admins for the amazing job you do with these analysis and for your great patience in replying to everybody ^^ As a fan of that song (and ballads in general), I really liked your cover of Park Hyoshin’s Wild Flower! Since it’s a song you are obviously familiar with, I was wondering if you could give me your opinion on Pentagon’s Jinho’s cover of it:

    Like

    1. Awww thank you so so much that’s so sweet of you and thank you for leaving your first comment! I’m glad this is a video I’ve already seen, so I already have an answer for it! haha

      “I do hear tongue tension actually, throughout. But I wouldn’t say he was trying to emulate Park Hyoshin at all. It’s just his usual issue. I think this song is too high and a climax on C5, I don’t expect a single male idol to handle that well in the original key.” To expand just a bit more, the range of the song is like Eb3 ~ F#4 throughout the first verse, then head voice G#4, then it goes up a key up to G#4, with a mixed Bb4 this time then up another key where he goes G4 Bb4 C5, where he doesn’t show support. I usually hear tension from Jinho above F#4, and I feel like it wasn’t this much before when he was in SM The Ballad.

      Like

      1. Ops I didn’t know this had already been asked about, I looked through the comments before posting but I couldn’t find it, sorry! ^^”

        I could hear some tension but I wasn’t able to pinpoint the source of it, really, thanks for the explanation! So besides the tongue issue, he’s still supporting up until F#4?

        Liked by 1 person

  19. Hi! I know you’re not fond of PD101 questions and that no contestant could support except Jaehwan and Baekho, but I came across an old video of Sungwoon of W1/HOTSHOT singing, and I’m pretty sure that he sounded better/healthier back then, even if not by a lot. More opened? I’m not sure lol but I was wondering if you could talk about his technique here. Thanks for all your hard work with the blog! https://youtu.be/NINjHaAMPzI
    Starting at 1:09

    Like

    1. No, I do think some others could support, but none of them support above like an F#4 or a G4 and none of them really had shown resonance. I am looking for older videos I’ve analyzed of Sungwoon for me to make a comparison, he is singing in a generally low range here actually. Lots of head voice, 2:45 There were F4’s before, a bit too chesty and tense, but these G4’s were definitely tense and tighter. I’d say compared to my initial impression 4:06 pretty tight around G4 and shouty, but I’d say back then he did seem to make a more conscious effort to support, at least in the third octave and below D4, but he is so heavy and pushy around E4/F4 still.

      This is what I remember from him before:

      “His vowels aren’t very opened and the sound tends to be fairly shallow. 0:28 tightness and throatiness even as low as E4 and higher too. 0:45 his transitions into head voice aren’t bad. I’m hearing issues with nasality and tightness in his diction in the second video as well. 0:40 ~ 0:50 I hear tightness even as low as E4/F4 on this one too.”

      Like

  20. Is Park Kiyoung lowering her larynx around 0:55 ~ 1:10 (also throughout but felt most noticeable hear)? She sounds thicker and kinda has a ‘i have a frog in my throat rn’ quality that she normally doesn’t. Also 4:11 E5 has support? It sounds shrill and thinned out but does it still have some support?

    Like

    1. I wouldn’t say she’s lowering her larynx, I just hear more of a tense tight tongue throughout that part. I wouldn’t say she normally doesn’t have that, cause she tends to do that a lot. I wouldn’t say the E5 is supported, but the quality is confusing.

      Like

  21. Hello ahmin this is sumi jo.. The best singer in korea right now (even better than so hyang i must say) she has one of the best headvoices that could battle the likes of joan sutherland mariah callas etc… In this clip what note does she sing and is it supported? Thanks in advance

    Like

    1. I think you’re making a lot of statements regarding her that come off as facts that are actually incorrect or fairly arguable. I’ve heard a vocal range video of hers and I’m not sure that by classical standards she’d be considered to support above B5/C6, her head voice is very shouty around that range. She’s kind of overhyped in her head voice. Other wise we can’t analyze her, she’s not a contemporary vocalist, she’s a classically trained soprano. She, much like Song Sohee, cannot be analyzed by our standards. So she can’t really be directly compared to any vocalist here. That higher note was a C6.

      Like

  22. Hello~~ So one of my friends who’s in a choir group once told me that contemporary singing is much harder than classical singing since you need to use and develop more registers, whereas classical singers only use head voice. Is my friend’s claim accurate?

    Like

    1. I am not sure I would agree. I can’t really say I’d even go as far as to say either of them is harder than the other, since they’re so different in so many ways.

      Like

  23. Hi ahmin , Happy birthday!!!!! Yeah I know that day has already passed but I don’t care really care. Thank you for your time for answering our questions .Thanks to you , I discovered a new passion about singing and vocal techniques. Right now , I am trying to find if someone has support or not . For example , in this video https://www.youtube.com/watch?v=ijjo_NN28Bc does Taeil has support and does he has support this note at 0.40 ? Is that an A4?

    Like

    1. It’s not a bad note actually, it is A4. The issues are a bit of too much pushing, a bit of squeezing, and his jaw is kind of locked. Thank you btw for the birthday wish!

      Like

  24. Hi! I love reading your vocal analyses a lot and I find them very interesting, have you ever considered doing vocal analyses of JPop idols? There are some who have nice very nice voices to listen to, but I think they may not be using correct technique, but I can’t know for sure. Some examples of these idols are Suzuki Airi and Takahashi Ai.

    Like

  25. Hi~I am a K-pop fan from China, I am interested to read your analyses and could you please analysis the vocal of UP10TION, like Sunyoul and Hwanhee. Thank you~

    Like

  26. hello!! i was wondering if a wobbly vibrato is necessarily a bad thing?? or is a wobbly vibrato the same as a forced throaty one??

    thank you 🙂

    Like

    1. It indicates a lack of muscle coordination and breath management so that the vibrato isn’t steady, as it shakes and isn’t consistent in speed.

      Like

  27. Hi ahmin !
    I saw someone who already asked you to analyse Rosé’s singing in “Please Forget Me” of Gummy (Fantastic Duo 2) but there’s actually a longer video with the entire cover. Anyway here is the link : https://youtu.be/abs35Oe5wlw

    So it continues at 2:41… Does she support here ? This section sounds less nasal and more “natural” imo. How are the high notes at the end ? Do you think she is trying different techniques at the moment… ? How is this performance technical-wise for her overall (after 2:41) ?

    Like

    1. There’s some support as what I normally hear but the vocal cords aren’t strongly developed so there’s some tension and a wobbly vibrato that kind of gets in the way but it’s a result of weak muscle coordination and lack of proper airflow. 4:06 I hear tension, more so than support, around B4’s and C5’s. 4:33 strained D5’s but I mean I’m not expecting her to support D5’s or even B4’s with how she coordinates her breath and the stretch of her muscles in a lower range. I don’t think she’s trying to use better technique cause I don’t think she knows how.

      Like

  28. I love this site and think it would be extremely helpful to these artist if they could look at your analysis. Unfortunately, some fans are using this website to drag some of these singers through the ringer. While I’m sure that this was not the purpose of this page, it is being done to such an extent that it’s hateful. Such a shame.

    Like

  29. Hi Ahmin~ I can already feel myself regretting writing this later, but I see a lot of people before me have posted their own covers/singing to ask for advice, so I hope it’s ok. I wouldn’t want to waste anybody’s time so just ignore this comment if that’s the case ^^”

    I’ve always liked singing but I never had any lessons unfortunately, I’m trying to learn as much theory as possible on my own and this website + all the youtube videos you make are helping me a lot through it, so I can’t stop thanking you for that! Despite doing this, it’s still hard for me to completely understand what I’m doing wrong all by myself. I’ve recorded a short cover of “사랑이었다” by Luna, it would mean a lot to me if you could listen to it and give me some tips on how to improve, because as for now, I barely know what I’m doing hahaha
    (I don’t expect you to give me a big analysis or anything, I know it’s very little material but anything would be of great help^^)

    https://app.box.com/s/lssdwoae6mc89dolvb7mps4fdzji2bux

    Thank you in advance

    Like

    1. Hi dear! It’s okay that you’ve never had lessons! Let’s see what we can gather from this. You have a very pretty voice, singing in Korean isn’t exactly the best if you’re not comfortable with the language but your diction is opened since your mother tongue is Italian. (Do you mind if I show you a clip of me singing in Italian so you can judge my pronunciation? LOL) You’re connected, your pitch is strong. You remind me of Joy, slightly wobbly vibrato and a lot of headiness throughout. I don’t necessarily hear tension or many issues, I hear a lack of tightness in the vocal cords against the airflow when you sing with a vibrato, so it wobbles. I also hear some tightness in the head voice, and you could develop your chest voice more but this is nice actually! It’s just a bit too thin throughout.

      Like

      1. Wow, I wasn’t expecting such a positive response, thanks! ㅠㅠ
        And yes, it would be an honor for me to help you with Italian, anytime! (I think you’ll probably be good already since the nice thing about my language is that you can have a really strong accent, but 99% of the time the meaning of the words still comes through so any Italian will understand you anyway)

        I definetely struggled with the head voice in that song, that part was probably too high for me ^^” Since this is a very “soft” song I was worried that my voice would come out very squeezed in the first part as I was trying not to sound too loud, but it’s kinda hard to sing softly without being completely breathy so I didn’t really know what I did haahhaah
        I’ll look up some exercises to develop my chest voice and hopefully correct the vibrato issue, thanks again!

        Like

      2. Oh no dear, I don’t know if you’ve heard me sing in Spanish, Portuguese or Korean, but I don’t want to be understood. I want to have close to an impeccable accent like a native speaker. lol Can I send it to you through twitter?

        No problem and you sound so pretty!

        Like

      1. Sorry for the late reply, I only saw this comment now ^^” Anyways I use Adobe audition to clean the audio and add reverb (or other FX when needed) and Sony Vegas to time & record (just because I’m more familiar with that software and it’s pretty easy to use)

        Like

  30. Hi Ahmin, hope you are well 🙂 I’ve been doing more mixed voice exercises and was wondering if you could take a listen to see if my C4 and D4s have improved in these covers? Is there support on any of these notes and am I still singing with too much airiness/breathiness? Also you said last time I have a bad habit of lowering my larynx when singing–am i still doing this? I feel like I am in the lower range (e.g. the F#2 in I Blame on You) but not sure if I’m doing it on the rest!

    Like

    1. I’m really thankful that you still have the older recordings of you singing on your soundcloud because listening to it, the change in your technique is huge! Your pitch and your diction have improved immensely. You’re a lot more opened, you’ve made your sound project better by placing it more forward, you’re brighter, your pitch is far more centered. There’s still an issue that I hear with a wobbly vibrato and a bit of an unsteady stretch of the vocal cords, so I would try to tighten the connection just a bit more to stabilize the airflow and keep the vocal cords stronger. In other words, just keep developing your muscles so you don’t let go of the progress you’ve made so far. The support is being established and it’s a lot better approached at this point than before, I’m really impressed. I don’t hear a lowered larynx actually, slightly kind of a drop of support and projection in the lower range but wow this change is amazing.

      Like

      1. It’s great to hear I’m going in the right direction! I’ll try to keep developing my voice like you suggested. Also I have another question: I’ve noticed that every time I begin singing again after say a day or two of non-singing, I feel like I revert back to old habits (e.g. not connecting vocal cords and not mixing brightly) and it takes a while of doing exercises to find the level I was at the previous time I practised. And the longer I don’t sing the longer it takes to find again the next time. Would you say this is normal? My worry is that if I don’t have time to practice for a few days, I might lose the progress I’ve made!
        As always, thanks for your time in providing such detailed advice in your responses!

        Like

      2. Yes that’s perfectly normal! It happens to all of us really, since the vocal cords are muscles when you don’t sing they get out of shape so it’s all related. So it’s just about strengthening the muscles. ^ ^

        Like

  31. What you think about them? Especially the red haired guy (Hyojin), blue haired hair (J Us) and the blue shirted guy with light brown hair (MK). They’re the vocal line of the group.

    (If you want to talk about the others: white hair=Wyatt, cap guy=U, black hair=E Tion and green shirted guy=Laun)
    Thanks

    Like

    1. Someone asked about them on this:

      “Do you mean if they both support that specific note or just in generally? I can’t say I’ve ever heard of this group. I hear generally tightness, their diction isn’t very opened throughout and that higher note is a C#5 in an unsupported head voice from both of them, although J-Us places it more forward so he projects it a bit better. They could all be analysis-worthy, it just depends on requests, their roles in their groups and the material available. 3:07 it peaks at D#5, again this is just head voice. This isn’t belting or anything but even the F#4’s throughout the chorus aren’t very opened and their support doesn’t seem well developed.”

      Like

  32. Ahmin, is there any exercises to improve stability?
    Because I often singing out of pitch (going flat or sharp)
    That’s one of my issue, no matter how hard I tried to sing in-pitch, but it’s always going flat (often) and sharp
    Also, is there any exercises to improve breath support?

    Like

    1. So you mean exercises to improve pitch? Yes, I’ve shared exercises on breath support on my first video:

      As for pitch, how do you currently practice? Do you ever try to match pitch with a piano? Do you have somebody help you hear yourself? Do you record yourself and listen back? These are all methods that can be used to improve your sense of pitch.

      Like

      1. Currently I’m practicing my pitch with an apk called Vocal Pitch Monitor
        Idk if it’s accurate or not, but I’m using that apk
        I also recorded my singing and checking the pitch with Adobe Audition

        Like

      2. Well, that would be quite difficult case for me because I don’t have somebody who has sense of pitch to help me

        Anyway, thank you for your answer

        Liked by 1 person

    1. Depends how high and how little a little bit is cause from G2 to F4, my larynx doesn’t move almost at all. It only moves slightly at the bottom of my range and slightly up at the top but if it’s subtle.

      Like

  33. Could I ask about this girl .Did she do well ? Could you estimate this cover ? I really like her . BUT I cant find the information about her . She is not an idol but she ‘s famous for her covers .

    Like

    1. i’m just guessing from what i’ve heard from the video and i’m not a vocalist so i might be wrong:

      she supports really well, but it sounded like there was some tension at 1:38 and 3:09 (maybe because she was singing on a closed vowel. she was also a bit flat on the C5 at 3:10 and maybe some other parts, but aside from that, i think she sounded pretty good.

      and oml her timbre is so similar to taeyeon’s, it actually surprised me at the beginning of the video because they sounded so alike

      Like

      1. Yah . She’s like another vers that combines of Taeyeon and Jisoo’s voice with more nasality . I dont have any information about that girl . I wonder if she is a trainee ? I am not sure. If u like her, come to her youtube chanel, she did a lot of covers, and for me, some of them are better than the original :3

        Like

  34. I have a complicated question here , so agility is about separating the notes by singing them in a one breath ( weak English ) what about people like Ariana grande , camila cabello , rose blackpink there not agile but they can sing vocal runs right ? What’s the difference what makes agility a more important thing ??

    Like

  35. Hi guys! I’m wondering how did Lee Yejoon do in this performance of Winter Rose?

    Also, are you familiar enough with her to make a brief comment of her vocal ability? I feel like she did really well but I’m not sure if this is due to some IS editing or is on par with her actual technical level.

    Like

    1. 2:30 a bit of a lowered larynx on the G#3. 2:37 definitely pushed down for the F#3. She drops support around G#3 it seems, but her B3’s are nice. She places her sound really well in her mix, it’s really opened and relaxed. Her fourth octave is forward and I hear no issues with shallowness nor nasality. 4:00 the mixing in itself wasn’t bad. 4:03 B4’s throughout that she phrases are definitely resonant, but she starts to get throaty around C#5. 4:27 Bb4 resonant again. 4:33 the placement in itself isn’t bad, but she pushes above C#5’s with her throat and so she sounds scratchy and too gritty, with some obvious tension. That is actually my general impression of her, she produces resonance up to B4/C5, but she starts to get throaty on C#5. 5:15 really not badly placed, but she is pushing with her throat too much. 5:48 it starts resonant, then she gets throaty on C#5 and above she gets throatier. She peaked at F5 and the higher she goes, the throatier it gets. 5:23 throaty but that’s a big jump from G#4 to F5. She places her sound well, she just uses too much throat to project.

      Like

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