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. I have two questions.

    1. What are the most complex runs you’ve ever heard?

    And.

    2. What are the most creative runs you’ve ever heard?

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    1. I’m not much of a run person, so Tori Kelly, Naul, Mariah Carey and Brandy, they have some very complex runs in their songs but to say the most creative? God, that’s hard. lol

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      1. Sorry to bother you i have a couple questions:
        1- When i sing i feel vibrations in my chest (If i belt also in my head) i know thats ok but is it ok if i feel vibrations in my larynx too? not in the upper throat just there
        2- Is it ok if im slightly nasal in my mid range?
        3- How much my stomach should expand and contract when i sing i tried to look myself in the mirror but its kinda hard to tell cuz im overly underweight lol

        Anyways im addicted to your blog i love it and dying for reading new stuff

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      2. 1. Of course! Your larynx is where your vocal cords are, there’s no way not to feel vibrations from there.
        2. This depends. Do you want to be slightly nasal? If so, then it’s fine. If not, then no.
        3. It shouldn’t really contract, it should remain expanded. And as much as possible like a balloon. Just feel it, don’t worry about the visuals dear.

        Thank you!!

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  2. I practiced a lot but I cant reach high notes like IU. I tried singing her song “Palette” but I can’t tell if she’s actually singing in high pitch or just singing softly.

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  3. I know you don’t really answer questions about western artists but this is sorta simple

    Katy Perrys a soprano right? Bc anything I tried to look up for her were just people arguing about her being a mezzo or contralto…

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    1. She’s definitely not a contralto but I’ve been torn between mezzo and soprano before but I can’t say I’ve put enough thought into it to be sure.

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  4. https://vocaroo.com/i/s1Dbq1Y2ATLT
    Could you please tell me what the vocal range was here? Also how were my notes/support/tension? i’m unable to figure out how low and how high i go. also are some notes falsetto or head voice? Could you also please give me suggestions to improve thanks!!

    This doesn’t really involve Taeyeon. but i had no ida where i could comment in general. I read on twitter that you dislike when people sing in languages they aren’t farmiliar in so i apologize, however, could you please comment on my singing. I attempt the same note with different approaches, which was is better in your opinion (sorry about audio quality)
    https://vocaroo.com/i/s037Ekxidsso

    Like

    1. It’s better to comment on a general page, like the about & our criteria or The Voice page as opposed to a specific analysis when asking about your own singing as that is irrelevant to the analysis of this vocalist.

      Now I combined your comments and deleted the one from the Taeyeon analysis while keeping this one here and adding the other audio link because then it better organizes everything. So yes indeed I don’t think it’s a good idea to sing in a language you don’t speak because that will really mess up your diction and it will make you unaware of your singing as you’d be focusing on remembering lyrics you don’t quite understand and that’s already thinking too much when you should focus on your singing.

      Let me first talk about the audio where you’re singing One Last Time. There’s a lot of…habits going on. A lot of pulling and pushing, sometimes too much air, sometimes too much breathiness. You slide too much so the general sense of pitch is lost a lot, as you tend to kind of lose the tonal center of the key you’re in and then kind of be flat and sharp because you’re sliding to the notes instead of just hitting them dead on. Then there’s the very very obvious tongue/glottal tension that happens when you try to sing louder.

      When you sing with Oo, you tend to also have a lot of tongue blockage. Ah was okay in your head voice. 0:36 G2 that’s the lowest but I’m sure you could go lower. So then the mixed voice thing was Eb4 at first, with again a lot of pushing. You use a lot of tongue there, watch the video on tongue tension and see if you can recognize that. I’m not sure exactly what you’re doing musically, there’s a lot of sliding, swelling, crescendos, random runs and I’m not sure why you were doing that exactly. Like I get you were trying to show your range, but is this how you practice your singing? Because then you’re not targeting points of tension, you’re not targeting your issues with pitch, etc. You have to be more musical when you practice, practice scales so your vocal cords get used to the movement of one note to another at the center of pitch. Get used to singing without pushing because whenever you got louder, it was all pushed throat air pressure and tongue tension and that’s a major thing for you right now. I think the range I heard was like G2 ~ E4 ~ G#4, I’m sure you could sing in a wider range, you just didn’t. Do you ever practice with vocal exercises? Because this kind of guessing game you play when practicing is very counter-productive for vocal development.

      Like

    1. 1. Why would said “hysterical kid” send you an e-mail to ask if he’s supporting? 2. Why is it that the e-mail you’re using to send this comment is the same e-mail associated with the Youtube account that posted this video? Cute kid tho, love his outfit.

      Like

      1. Cause I am the hysterical kid! No I’m just kidding, he’s my brother. I used his email on the computer, hopefully that video stays up so more people can embarrass him lol. Jk, but the kid likes kpop, and he emailed me because he thought apparently I know a lot about vocals

        Liked by 1 person

  5. Hello, I’d like to ask about the main vocal of VAV in this video:

    I’m not sure if anyone has asked about him in the past. Does he support well? I think the note (an E4?) at 0:56 sounded alright.

    Like

    1. I haven’t heard of this group at all, ever. 0:54 F#4, I’d say it’s a bit pushed for the F#4, but he’s support pretty well throughout and that F#4 too, although it is pushed. 0:56 E4, it’s a bit tight from the ee vowel to me if anything.

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  6. Ahmin, would it be alright if I asked you for advice on my singing? I know others have done so on the blog, but my enquiries are much lengthier than most, so I’m wondering if it’s too much to ask you to do this for free.

    Here are the clips I’ve prepared:
    A) chest and mixed voice ranges (not confident in falsetto yet): singing down the piano G4-C3; and up C4-B4 — https://vocaroo.com/i/s1PL7hLFZav1
    B) “bupping” (for the most part) my way through “Aimer”; including voice cracks where I couldn’t resist the urge to transition into falsetto — https://vocaroo.com/i/s0PrtS3oh5UP
    C) half of “Melodies of Life” — https://vocaroo.com/i/s1UTRSIIR8I1

    1. Do you think I’m a mezzo-soprano? I know you no longer consider it appropriate to classify non-classically trained singers using Fach, but is there any chance I might be a heavier type of mezzo; or do I sound obviously like the lighter type; or is my voice too underdeveloped to tell either way?
    2. At what notes did I raise/lower my larynx? I think I’m inconsistent with keeping my larynx neutral even on notes that should be comfortable for me.
    3. I think I’m comfortable between G3-F4. Was there strain (e.g. singing with a lowered larynx, tight throat, having excessive neck/jaw/glottal tension etc.) even within this range?
    4. How was my placement? I think I have tendencies to be throaty and place my sound too low, but I’m not generally nasal.
    5. My voice seems extremely shaky in the recordings — I don’t seem to be able to hit notes at the centre of their pitch. Is this because my singing lacks support? I think I tend to be airy; does airiness have anything to do with pitchy singing?
    6. Would you say my legato is problematic? I think I kind of slide through notes, and my lines sound really weird when judged as a whole.
    7. I admire vocalists with heavier voices and try to achieve a thicker sound in my singing. I wonder if that’s creating issues for me. I don’t want to be someone who sings with excessive chestiness/a lowered larynx/lots of tongue tension in an attempt to emulate vocalists who naturally have more weight to their voices. Am I singing in a way that reflects the natural qualities of my voice, or am I trying too hard to make my sound “bigger”?

    Hi, Ahmin. If you’ve decided to advise me on my singing, here is a new clip I’ve recorded that might be of interest to you: https://vocaroo.com/i/s1B0bt4tBI6A
    Do you think I’m too aggressive when approaching notes (using too much air pressure to push notes out, compressing my vocal cords harshly etc.)?

    When I belt like this https://vocaroo.com/i/s1ONFLBWdNDq, I can sometimes feel vibrations in my mask and hear a “ringy” sound. I’m definitely straining so it’s not healthy, but do you think this approach is correct, or am I just being shouty and emulating the “theatrical” singing style in unhealthy ways?

    Like

    1. First of all, so sorry I could not answer any earlier! As I see, you’ve added more audio examples, so let me try to get through them all.

      I’m going to just say I don’t know what song Aimer is. lol

      1. No, I don’t think you’re a lower type of mezzo-soprano. I actually don’t think you’re a mezzo-soprano at all. Your voice barely has any character below A3, it becomes muffled and you lower your larynx a lot and very often when you sing. Even around A3 ~ C4, you’re pushing with the throat and a pushed down larynx and the lower you go, the more you push it down. You sound like an untrained soprano who pushes her larynx down, has not developed her head voice muscles, kind of has a head voice and pushes through with her throat and with air. Which is why you might have tricked yourself into thinking you have a lower voice type, cause you think that’s the most comfortable part of your range but that’s because you do that artificially but it’s not necessarily where your voice naturally lies.

      2. Judging from the first clip. I’d say A3 was the first note where you started to lower your larynx. B3 was still okay. I’d say F4 already has too much tension, even slightly below that. You tend to shout and it’s literally by forcing your throat, you don’t even use too much air pressure because there’s so much constriction in your throat, that it numbs your vocal cords.

      3. In the range clip, B3 ~ D4 was okay, but when you sang songs, there were moments where even D4’s had a lot of pushing involved.

      4. I’d say you’re not nasal, but you push the throat low from the throat, so it sounds thick, pushed and tight, like very very blocked as if your voice is trying to come out and you’re standing on top of it, pushing it down to the floor. If that visual makes sense. lol

      5. Yes and yes. Airiness causes you to be unable to control the stretch of your vocal cords, so you might be slightly too low or too high. For the pushing, it also affects the vocal cords and thus it contains them and makes you unable to relax at the center of each individual note.

      6. Yes, I’d agree with this statement.

      7. Oh! That explains a lot. So not only did you trick yourself into thinking you have a lower voice than you do, you actually wish to have a thicker voice than you do. Yes that can cause a lot of issues for you. Singing with a voice that’s not yours is a problem. So for everything that I’ve said so far, you’re right. You’re pushing weight on a voice that’s not as weighty as you thought.

      I think you have a lot of tongue tension and pushing, but your voice isn’t nearly as loud as it could be because of the constriction and the lack of freedom. Your placement is ringing in a way, but it’s all pretty much pushed and in the throat in the last clip too.

      Like

      1. It surprises me that I’m not a mezzo-soprano. I’ve always thought (after puberty) that my voice is noticeably lower than the average female. After reading your response twice, I see how it’s my vocal habits that created this illusion; these bad habits are present in my speaking voice too — I’ve been told that I have a “deep” voice, but that is also artificially created.

        I’m disappointed because, as I’ve said, I envy vocalists with heavier voices and wish to sound like them. I see that’s impossible for me since my voice is naturally much lighter than theirs. I’ll try to sing and speak more lightly from now on in order to develop healthier vocal habits. Although I’m upset that the natural qualities of my voice aren’t what I wish them to be, there’s no point in perpetuating an illusion.

        My rationality doesn’t stop me from feeling discouraged though: I don’t see why I should continue to sing if I’m never going to sound like how I wish to. I guess having a lower voice than the norm was a cherished belief to me and it’s painful parting with it — a part of me wants to cling on to that belief, and convince myself that you’d judged my voice type wrongly; despite how silly it’d be for an amateur to argue with a professional.

        Thank you for taking the time to advise me. It was really enlightening. Hopefully I can face this situation with emotional maturity and learn to embrace the natural qualities of my voice.

        Like

      2. Actually you can sound deep and thicker in a healthy way, I mean there’s heaviness like Ailee where it’s supported or like Demi Lovato where it’s pushing with no support. Your voice could develop a lot more than you’d think if you have it a chance to. No no I understand your feelings my dear and I’m sorry about that honestly.

        Like

  7. Hi, I’m not sure where to put this, but I’ve noticed that on random pages on this blog, I’ll be reading and suddenly the page will cut to the video ad that is between the post and the comments. If I try to scroll, it just bounces back to the ad. The weird thing is that it doesn’t happen every single time. Has anyone had this problem too? Or is it just me? I’m using Firefox and it’s been like this for about a month.

    Like

      1. Aaaaand one minute later, it didn’t work. T.T Thanks anyway! Hopefully it works for someone else with the same problem.

        Like

  8. I am seriously considering printing every vocal analysis you’ve ever done and sending to every company in Korea that is allifiated with K-Pop and music.
    I hope you get sued. I hope you receive ridicule. I hope you suffer for the needless fan wars and hate towards certain vocalist that you have caused. You Are A Biased Ass.

    Like

    1. Why don’t you do it then? Because I’m pretty sure that companies would gladly invest in refining their own artists techniques seeing as the analysis are actually written by peoole who have devoted their time and effort to provide us an objective review of more than 100 kpop/korean vocalists which is far from being biased.

      Liked by 1 person

    2. Why would we get sued? We aren’t doing anything illegal in the slightest. This is neither slander nor defamation of any kind. Why are you so angry? I don’t get it. And please, please print out every single last one of our analyses and send them to their respectful companies. This is commentary we are sharing our thoughts in a public place which we are allowed to do. If you don’t like what we have to say, simply don’t read about it. Also let’s he real, the source of your anger is coming from those BTS members not being as amazing as you expected. WHICH IS FINE. You can still like them and think they are the best vocalist to you, like that’s fine. No need to be angry.

      Liked by 2 people

    3. The intention of the analyses is to educate fans and aspiring vocalists alike so that they don’t hurt themselves in the process of trying to emulate their favorite vocalist’s singing. We also would love to be able to help the vocalists we have analyzed and we would be very thankful if you sent the analyses to the vocalists. This isn’t a hate blog, this is an educational blog so if we could help these vocalists, we would feel more accomplished. We don’t cause fanwars, we are AGAINST fanwars. Fanwars existed before we appeared and will always be there, but we are doing our part in trying to minimize them by spreading knowledge. If you’re unable to comprehend constructive criticism, you are welcome to live. I hope you’re able to live life well though, without constructive criticism, it’s impossible to grow.

      Liked by 1 person

    4. For god’s sake, I, also an ARMY, desperately hope that you would really print out every analysis this blog has ever done and send them to every company in Korea that is affiliated with K-Pop music, for real. Please do it.

      When you’ve done it please tell us and I’ll (and probably quite some ARMY and other fandoms too) be so thankful of you.

      Like

    1. That’s a very general question and unfortunately we do not rate vocalists without a full analysis but I can tell you I’ve never heard her support in the fifth octave nor produce resonance, so that can give you a hint.

      Like

      1. And It was really devoted of you to have written paragraphs long responses to the questions on this blog . Lots of information per page .

        Like

  9. iam baritone iam mixing up c5-c#5 its that is normAl for baritone!! m@ny say thAt dont hitiing note on upper register coz your not A tenor. is not possible??
    And i can hit even head voice eb6-e6 its normal for bqritone because mqny of baritone can hit c6 more than a eb6 up And iam using a head pushing falsetto to create a head voice its a bad habits!!!!

    Like

  10. when in the video i hits d6 note in good plqcement using heAd pusheing falsetto its impossiblity to support the note in good plAcement???

    Like

  11. A question
    https://vocaroo.com/i/s15Rq6Znn7KP
    That’s a short recording. Sorry for the sound quality. What did I use? Falsetto or head voice?
    It’s actually very loud, I have to turn down the mic volume and put the mic far from my mouth.
    Falsetto isn’t loud, no? It’s easier to be loud here than in my chest voice. Here, I just have to push air, but with chest voice, I have to push + tense my throat.

    Like

    1. 3:11 Sounded mixed to me, Eb5 C#5 F5 Eb5 C#5.
      The Cleopatra game isn’t singing, it’s yelling. We don’t count this as part of their vocal range. I can’t tell who Momo and Mina are from far away. 0:48 F5’s? 1:04 E6’s 1:13 F6’s 1:17 Bb6.

      Like

      1. Wait ok I know you addressed this in the Wildflower cover comments section and I’m going to come off as soooo annoyingly pedantic so I’m SO very sorry, but V’s D6 was performed during the Cleopatra game also at a fanmeeting, is there really a technical/performed difference between Nayeon’s F6 at 1:13 and his D6?

        Like

      2. It was sung, pushed but more so of a pushed sung head voice. I wouldn’t count a note that could possibly be sung but is produced as screaming.

        Like

  12. Hey Ahmin ! Since you told me that I wasn’t enough opened the last time, I thought that the issue was that I took my breath really deep but kind of in a limited way? and it didn’t go the back of my throat so I made efforts to let the air I breath go into the back of my throat. Here’s the result (warning volume):
    https://vocaroo.com/i/s08WzDRzqphG (the end of Defying Gravity)

    I feel like I’m more opened than before, perhaps more heady? I don’t know but I thought it was a good improvement so I wanted to share it with you.

    Also I wanted to ask if the last note (F#4) was supported:
    https://vocaroo.com/i/s0iohe5ma5A0 (Wildflower, lol I loved your cover and you’re a baritone so I tried to hit the same notes as your cover)
    It was pushy (really, my mix ends at F#4, after that, my voice gets really bright and not stable enough) lol but maybe supported? Idk it was just a test, because I wanted to know where my supported range (in mixed voice) ends.

    Thanks !

    Like

    1. I understand you have an accent, don’t pronounce your R’s like wizaRd and eveR, kind of make them a lot more subtle and soft instead. 0:26 That was too wide of a vowel, but the C#4’s are really well placed, but you’re pushing more air than you need to and you end up going sharp as a result. You need to relax and let the vocal cords do more work than they are right now. This is more or less what resonance is, you just need to push less.

      Awwww thank you! Honestly I’m not 100% satisfied with my own cover cause I could’ve done better on that F#4 and I hear why but it’s okay. lol What happens to you is normal and it happens to me, I get super heady above G4, I used to get super heady above E4 so it’s development. I wouldn’t say the F#4 nor the E4 were supported, you punched the notes with your throat. You need to relax and allow the air to flow naturally, instead of pushing it out.

      Like

      1. Okay, I will take notes ^-^ I really need to fix my vowels shaping too

        I thought your F#4 was fine though ? Yes I understand, my throat felt kind of weird after that lol but since I wanted to go for the F#4, I sang the E4 in the same way that I would sing the F#4 (punched the notes with my throat) so I think it was just an occasional sort of thing and I guess I still can support E4/F4….

        Like

  13. Hi , I already read the page , and I’m curious about this . How can you find the mask area to place your voice ? and How supported only voice and Resonant voice sound different from each other ?

    Sorry for My bad english .

    Like

    1. Placement is what makes resonance become fuller and more amplified, as opposed to simply supporting your voice. Have you seen the vocal tips videos? There is one on resonance and placement that can better answer your question.

      Like

  14. Hey Ahmin, i was wondering, i saw a comment you made about hyunsik having a very extensive range but much lower technique than sungjae, does that mean that he was born like that? or did he develop his mix like someone properly trained would but in an unhealthy way? and if its the second than how do those kind of vocalist manage that? do they just get their vocal cords used to strain to the point they can manage to strain higher and higher over time?

    Like

    1. Ah…you see this is not a question I can answer with certainty because I would be guessing. I would guess that it’s probably a combination of both a natural tendency to be able to sing higher than the average baritone and grasp mixing better and simply being taught to shout higher. Cause it has to be somewhat natural but also somewhat taught. I wouldn’t expect an untrained baritone to simply pop out D5’s without at least learning how to. Some people have resistant vocal cords that can handle strain better than others, like Ariana Grande or Changmin.

      Like

  15. Hi , ahmin
    Which vocal exercises would you recommend me to train for getting better at Legato/Staccato and intonation , and how long and often should i train it since i am a beginner and It would be very nice if you could include a video links of it
    Thankyou and i wish you all the best ^^

    Like

      1. I haven’t practice it yet because I don’t know what kind of excersice i should be doing . My biggest problem with singing are singing not in pitch , tone and when i sing , it sounds not smooth like Jungkook from BTS 😦

        Like

  16. Very disappointing when tenors like Jungkook in the E4/F4 go to falsetto, and I, as a baritone, try to sing F4/G4 on chest.

    Maybe I’m not a baritone at all? For my highest chest note A4 / A4 #, and the lowest A2. True A4 and A2 do not sound very good, A4 is very loud, but I’m working to make it quieter

    Like

  17. Hi my dear friend I hope you all doing well..i tried to follow your advice so I closed my nose and tried to sing then I tied to imitate the way I sung when my nose was close without closing it and it feel free I didn’t feel pain in my throat at all so I guess it’s good I hope you listen to my last cover please try to tell me what I need exactly to start support by order what things I need to start practice on like first pitch then diction then tension something likethat I won’t post anything until I learn all the things you are going to tell me to practice thank you my friend you are really helping me to achieve my dream

    http://www.smule.com/c/967492943_1776308023

    Like

    1. Why don’t you try singing songs for me without an instrumental and a song that focuses more on your singing? I think this song is a bit too fast paced and too high for you at this point. You’re a bit too breathy and a bit dopey, like you’re yawning slightly throughout the verse. Your pitch is still much better than it ever was better, but since this is a bit fast here and there you lose your timing. This isn’t too bad though, you’ve changed quite a bit! Why don’t you try a song that focuses more on a range you’re more comfortable in, more of a mid-rangey song that focuses on your chest voice development and connection?

      Like

  18. Yeah, it would be hard…haha…
    I think Natalie Weiss said that Mariah Carey’s Lead the Way run was really creative.I also think Tour’s run in P.Y.T was creative as well as Beyonce’s Why Don’t You Love Me? I thought it was creative because she switched between chest and head voice while moving upscale. Happens at 2:18 in the song(for Beyonce that is) I thought since you listen to r&b music it would be cool to hear your thoughts. ^ ^
    Also, may I ask what you mean by not much of a run person?

    Like

    1. Why don’t you go to her vocal analysis to ask a question that’s specifically about IU? Better yet, why not check the vocal range video I made which includes all 3 of these songs?

      Like

      1. i’m confused.
        use the above example, we can reach B6 in head voice that mean we can reach the note below B6. pandayeu said yes in head voice but “in mixed voice that’s a different story”.
        in my opinion, it is similar. if we can reach B5 in mix voice, we can reach the note below B5 too.

        Like

      2. Pandayeu meant that if a singer can hit B6 in head voice they can logically hit G5 in head voice as well as that’s a lower note but not necessarily be able to mix G5 as that’s a different register.

        Like

  19. Hi I wanted to get feedback on these short recording and what i can improve on. I chose softer songs this time to help stop pushing and to let go of some the weight in my voice when it gets higher.https://soundcloud.com/user-187677340/voice-097/s-0uVU6
    https://soundcloud.com/user-187677340/voice-098/s-n1c9D Also would it be ok if i sent a recording of my vocal excersizes? There from a recording with my new teacher and i just wanted to know if some of them are damaging or if i am doing them incorecctly. Thank you! Best Kpop Blog 2017-Forever^-^.

    Like

    1. Hi dear! Unfortunately I’m not entirely sure about improvement without having the older recordings to compare but I hear still some very prominent issues with pitch in the first recording. There’s also this shakiness and lack of connection in your vocal cords. You tend to go too low in some parts and change keys of songs. Don’t you think it’s weird you went into head voice in the first part of The Little Prince and then you belted the second? I’d actually rather hear exercises than songs cause then we can really target what’s going on more specifically instead of pinpointing every single issue in a song since that’s a bit too much.

      Like

      1. For the lip trills, you’re supposed to be sing Do Mi Sol Do Sol Mi Do and you were in the beginning, but then the higher you went you started skipping the Mi Sol part of the exercise and kind of sliding through and that focuses less on the stretch of the vocal cords and pitch and it’s like all you want is to hit the highest note, but the ones in between are just as important. 2:31 like you’re skipping through. 2:59 Your vowel is not forward enough, I am not I understand the purpose of the exercise because you’re keeping the throat narrow. She mentioned notes going sharp, but I keep hearing flat notes but then sharp at the last note. 3:52 this is a better exercise for you, 4:02 this was much better. You’re a bit nasal, when you get to the last night, you’re going “Uhng” instead of “Ah.” 4:31 You’re not really going any higher here. Now to be honest, I think all the exercises are good, and I think the last exercise with Huh Huh Huh was good for engaging better throat shaping, but you’re just not focusing enough on the stretch of the vocal cords. The throat muscles are working too much, but the pitch is much better. The placement isn’t forward enough. You keep switching to head voice which was nice, you were transitioning relatively smoothly. I suppose she’s viewing these as “warm ups” so not so much vocal exercises, which is why she’s not focusing so hard on precision nor detail. Pitch, stretch, placement, throat shaping, all of that isn’t too important to her but I personally…wouldn’t have kept going with so many of them without fixing a few things.

        I prefer the second recording, the exercise is more focused on a part of your range where you’re more comfortable, focusing better on placement and engaging the support a bit better. Now again I just personally feel she’s not correcting you enough? But I’m not her, she’s your instructor and you didn’t ask me my opinion on that. My opinion on these exercises is that yes they’re indeed useful and very good, but they have to be done with intention and focus. They can’t just be done for the sake of hitting notes, they have to be done with focus on what’s going on inside your throat, mouth and body in general. Just doing them for the sake of doing them isn’t beneficial enough. 4:14 you’re just sliding, you shouldn’t be singing this exercise this quickly if you’re going to slide through the notes. Mhmm..yeah.

        Like

  20. Hi Ahmin, I have a question about this video:

    Jeongyeon part 00:18 – 00:27, Jihyo part 00:50 – 00:54 and Nayeon part 01:00 – 01:00, all they are supported or they have tensions in those parts?

    Like

    1. There are Eb5’s being phrased by Jungyeon and Nayeon and sustained by Jihyo which are most certainly strained. Nayeon strains on B4 and above so those parts are too high for her. I’d say Jungyeon is the one singing more in her comfort zone but she’s still pushing those B4’s too much.

      Like

  21. Like how belting can be easier for some people on some vowels than others, can runs be easier to do on some vowels in comparison to other? For example just from my personal experience doing a run on the ooh vowel in ‘you’ is much easier for me than on the ahh vowel in ‘after’.

    Like

  22. Hi Ahmin! There’s something I’ve been quite curious about.

    1.It’s been said a couple of times that a tenor singing A4 is generally more impressive/difficult than a soprano singing D5. Since all tenors in the Proficient category (or AA-P except Onew) have got A4 down (more or less), would that mean that they are generally a tad bit better than the sopranos in the Proficient category?

    2. Why do people generally sound better (in terms of technique) while singing musicals rather than simple pop ballads? For example. I just saw Ariana Grande’s carpool karaoke with Seth MacFarlane (if you haven’t watched it, they were singing show tunes.) and she sounded really nice. Nicer than what she’s shown in her songs anyways. More open and supported, not so much in the 5th octave, than I’ve ever heard of her since the Victorious era lol.

    Is that simply because Ariana was trained for Broadway before or does musicals in general focus more on technique?

    3. How good does one’s agility has to be for it to be a factor to their rating? I know that agility is not a huge requirement in general but for someone like Tori Kelly as example, would her level of agility help her in being labeled as a better vocalist or not? It seems like D.O’s agility isn’t enough to be a big factor but if the agility is insanely good like Tori Kelly/Mariah/Beyonce’s?

    Like

    1. 1. I’m not sure I agree with that statement of A4’s being more impressive than D5’s.

      2. I did watch it yes. Well this is too general of a statement to put in enough substantial proof to make this an objective factual claim, don’t you think?

      3. I do think if they’re as good as Tori Kelly, it would factor in.

      Like

    1. M’am, you do not pay us for these analyses, we do them out of our own free will on our own free time. We’re busy, so please respect us. We are doing what we can.

      Like

  23. just wondering … since i was reading my bio textbook aloud. when i don’t take a large enough breath, as i get close to the end of the sentence i start feeling tight and i have to push air to finish the last few words. so i thought since reading and talking is similar to singing because we’re producing sounds of a particular pitch … would it be like unhealthy to push sounds out like how i did in the ‘back story’ that i told. would you be able to describe just a normal talking sound as being supported/resonant like how you describe singing – or are those qualities restricted to singing because singing perhaps involves more things that normal talking doesn’t? just a thought, wondering if you have any insight lol 😀

    Like

  24. Good morning!!(I guess)…ive been practicing for a while …can i request for you to listen to my short cover of All of me – chanyeol’s key, cos you recommended that for beginner baritone…
    1) do i have some nasality?..can you timestamp it cos i cant really tell if i am
    2) do i support?…can i ask for you to also timestamp it even if i have a split second of support…i want to know the feeling of support
    3) any other issues?

    Here’s my audio
    https://vocaroo.com/i/s09Kz67YHMpf

    I’d really really appreciate it if you are willing to take a listen and respond…i really do

    Like

    1. 1. I don’t hear much nasality. What I hear more of is your accent getting in the way of your diction, causing some minimal tongue tension throughout. It’s not present all the time though.

      2. Actually there’s better support throughout, you used to have issues with airflow and now your singing has become smoother with better placement. I’d rather you not sing with so much echo around you but do focus on opening up for diction more. In the very beginning you were using a bit too much air and you kept letting the air take over the stretch, but starting from “What’s going on in that beautiful mind” the airflow got better. You’re not lifting the soft palate enough in some parts, which caused you to go flat 0:25 “so dizzy” but 0:39 “you’re crazy” that was very nicely placed overall despite the echo, it sounds like you had a much more relaxed stretch of your vocal cords. Make sure you don’t tighten up your throat on your vibrato nor on runs.

      Like

      1. Wow!…thank you for your response…
        Ok so , i have to bear in mind of the diction , raising soft palate, be minful of my airflow, relax ,and tongue tension…
        So i have established support?..just that its not good enough?… and my vibrato is not healthy?… sometime i feel like im using my stomach for vibrato, sometimes….where should the ‘vibration ‘ feel during vibrato?

        Like

      2. I haven’t heard enough to say if your support is consistent or not. Honestly I don’t feel the vibration anywhere but in my vocal cords.

        Like

  25. i have watched a video about “Role of the Muscles of the Larynx” and i’m confused.
    this video show cricothyroid muscle and thyroarytenoid muscle working.
    it is going to control the distance between thyroid cartilage and arytenoid cartilage.
    i can’t image that how cricothyroid muscle and thyroarytenoid muscle working together.
    But we call it is mix voice, control the percent of muscle working of cricothyroid muscle and thyroarytenoid muscle to become a chestier mixed voice and headier mixed voice.

    what am i wrong? or mixed voice is using the thyroarytenoid muscle to help for connect the vocal cord?

    sorry for my bad english.

    Like

    1. emmm, in mix voice, a chesty mix is meaning TA>CT and heady mix is CT>TA
      TA –> relax the vocal fold, reduce to tension of vocal fold and vocal fold become shorter. it help for vocal fold connection. (someone say TA can increase the tension of vocal fold but i don’t understand)
      CT –> stretch the vocal fold, increase the tension of vocal fold.

      The problem is, we can’t stretch the vocal fold and relax it in same time, right?(in my opinion)
      so, my point is, we use CT to increase the tension of vocal fold and TA helps for connection.

      one more question, 1:06 is it twang?

      Like

      1. Technically when we’re singing, we do have tension in the vocal cords because they’re the only muscles working when we sing but it’s not the bad kind of tension that gets in the way, but the kind of good tension you have when your muscles are being worked and exercised in a healthy and productive way. I’m sorry, 1:06 where? In the video with no audio? I am not sure how to answer.

        Like

      2. yes, in the above video. Since i see some ppl twang is lower the epiglottis to chance the volume in pharynxz, which can produce a very big volume of sound.
        just like 1:06-1:09 in the above video.

        and some ppl say it should raise the epiglottis to produce a big volume.
        i’m confused

        Like

      3. Twang isn’t the same as lowering the epiglottis by my understanding of it. Actually I’m not sure about that honestly, it may be but I’m not sure.

        Like

  26. 3:41-4:26 her voice pretty special for me, not only normally resonance sound (or maybe it is the video sound quality problem?)
    for example
    3:51 B4
    4:17 B4
    4:22 B4
    what does she do? i don’t know how to describe the sound, maybe raspy sound

    Like

      1. I have a question, she is supporting those belts i am sure, but you can hear some kind of airiness in them, how is that possible ? I thought airiness equals shallow/no support ….

        Like

    1. I think the issue is that…you’re singing in a way that’s really limiting but that’s for a couple of reasons. Mostly diction, your vowels are all very narrow and small, which makes you sound nasal and whiny throughout. You have random 0:33 0:35 pushes of muscle tension and air, you’re keeping your throat muscles kind of too tight throughout as well, while not managing air enough. It’s a matter of letting go of all the tension by focusing on better diction, which isn’t something you can really figure out on your own easily without someone showing you but the general idea is that you should watch yourself in the mirror, make sure you’re dropping your jaw, keeping your tongue forward and enunciating clearly. To you, it will be as if you had already been doing it clearly, so overexaggerate the enunciation to force yourself into these new vocal habits.

      Like

  27. If someone is chesty but then tries to even out their mix (or just suddenly turn heady) will they support higher even if it’s not by that much?

    And if someone with a heady mix tries to even it out will they strain whatever they used to support?

    Like

  28. Hi Ahmin I know that you’re not going to analyze temporary groups like Wanna One. But I just want to ask if the mote at 0:52 is resonant. Is it resonant or was it just the reverb?

    Like

  29. Hi, Ahmin. I’ve been trying to sing more lightly with less artificial depth. Do you hear any change in my vocal habits? Hopefully there’s less tension.

    https://vocaroo.com/i/s0rSSi0qi3JE
    Singing in a babyish tone (Does this help?):
    https://vocaroo.com/i/s0MqEMAX7adR

    I find that it’s easy for me to transition into falsetto/head voice without intending to when I sing brightly; sometimes, I’d start off a note in mixed voice and it’d change into falsetto/head voice. I also don’t seem to be able to mix higher than F4 without pushing a lot. How can I develop my mix more so that I’ll encounter less difficulty mixing up to A4?

    Like

    1. Hi dear! Let me take a listen! Oh the first audio is showing such a clear change. It sounds like you’re slightly kind of uncomfortable still with this kind of singing, your vocal cords get a slightly crackly quality as you get higher above F4, which would be above your first passaggio theoretically or around it. It’s normal, since you are so used to pushing with a weighty quality, singing lightly can be kind of difficult for your voice at first. But you’re not pushing your larynx down nor forcing your sound! There’s no quick way, but to keep trying to resist a transition into head voice while maintaining the mixed muscles working and singing lightly even with a bit of cracking and difficulty. The second Ba may be a bit too nasal, try not to let your larynx raise nor use your front throat muscles too much. It’s difficult to get around it at first cause you’re complaining changing your vocal habits.

      Like

  30. Ahmin, how do you know how to distinguish between a head voice and a falsetto from a light lyric singer? There are some singers with a very light voice and, when they sing head voice, it’s kind of the same sound as if they were singing falsetto. How can you make sure to know when they’re singing falsetto, and when they are in their head voices?

    Like

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