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 all knowing 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. We encourage healthy discussions about technique! 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 discussions are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here is 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

The new labels on the blog will classify vocalists and label them within their own stylistic choices, vocal register development, supported ranges and where their strengths lie. This isn’t to say anybody is better than anybody. This will merely classify them within their own styles. A vocalist may fit into more than one category at a time.

MH Vocalists: Mid-Range Head Voice Vocalists

Vocalists in this category haven’t developed their head voices very high but are able to use them within a relatively low to mid range in their voice type’s tessitura. They maintain connection at will and are able to access their head voices at will.

Sopranos: Up to at least D5 up to G5/G#5
Mezzo-Sopranos: Up to at least C5 up to F5/F#5
Tenors: Up to at least A4 up to D5/Eb5
Baritones: Up to at least F4 up to Bb4/B4

HV Vocalists: High Head Voice Vocalists

Vocalists in this category have developed a relaxed and open sound in their head voices. They can manipulate dynamics, qualities within their head voices, they maintain supported qualities and manipulate the placement in their head voices well.

Sopranos: Starting Around A5
Mezzo-Sopranos: Starting around G5
Tenors: Starting around E5
Baritones: Starting around C5

MB Vocalists: Mid-Range Belters

Vocalists within this category generally perform the best within their mid-belting mixed voice range. Once they go high, they might have issues with keeping their throats as opened as they were in their mid belting ranges. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Up to at least C5 up to D5/Eb5
Mezzo-Sopranos: Up to at least Bb4 up to C5/C#5
Tenors: Up to at least G4 up to A4
Baritones: Up to at least Eb4 up to F4

HB Vocalists: High Range Belters

Vocalists in this category perform best and have the most ease within their upper mixed voice ranges. They are able to keep an opened sound without losing tone quality, without losing support and without losing volume while still being relaxed. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Starting around E5
Mezzo-Sopranos: Starting around D5
Tenors: Starting around Bb4
Baritones: Starting around F#4

M Vocalists: Mid-Range Vocalists

Vocalists in this category are those with relatively narrow supported ranges, whose strengths lie in singing within an octave of their range without going too high or too low too often. They generally keep support within a mid one octave range, but outside of that strain can become more apparent and intense.

Sopranos: Falling somewhere within A3/Bb3 ~ Bb4/B4
Mezzo-Sopranos: Falling somewhere within G3/G#3 ~ G#4/A4
Tenors: Falling somewhere within E3 ~ F4/F#4
Baritones: Falling somewhere within C3 ~ C#4/D4

ML Vocalists: Mid-Low Range Vocalists

Vocalists in this category have somewhat developed their lower ranges, but could still further develop the strength in the vocal cord development, projection, support and connection as they descend lower in range.

Sopranos: Going down to about G#3/G3
Mezzo-Sopranos: Going down to about F#3/F3
Tenors: Going down to about C#3/C3
Baritones: Going down to about A2/G#2

LR Vocalists: Low Range Vocalists

Vocalists in this category generally develop their lower ranges well and are comfortable singing lower than most within their voice types. They have developed chest voices, sung without tension, with connection, projection and ease.

Sopranos: Anywhere starting on F#3 and below
Mezzo-Sopranos: Anywhere starting on E3 and below
Tenors: Anywhere starting on B2 and below
Baritones: Anywhere starting on G2 and below

S vocalists: Stylistic Vocalists

Vocalists within this category usually prefer to sing in a specific specialized generally breathy way, narrowing their genre to keep themselves true to their style. They can often prefer breathiness, soft singing, throatiness and falsetto over singing with more connection and belting with more openness/roundness in tone.

C Vocalists: Commercial Vocalists

Vocalists in this category lack in terms of clarity of tone and overall management of airflow. They don’t necessarily prefer stylistic qualities like breathiness or soft singing. Instead they prefer to sing in a way that’s specific to their own music only, preferring to sing with high larynxes, or more air pressure, etc.

MA Vocalists: Melismatic/Agile Vocalists

This category is exclusive for the vocalists who have learned to how to properly move their vocal cords from note to note, at the center of pitch, with precision, control and ease. They have flexible vocal cords that respond to changes in pitch without sliding through them, but instead hitting each single note at a time with accuracy.

WR vocalists: Well Rounded Vocalists

Vocalists in this category have developed their ranges to sing within a variety of genres and styles while keeping a strong connection between their vocal cords and air management to sing with minimal strain within a wider range, from chest voice to mixed voice to head voice. The development of each of those registers should be both consistent and balanced.

For further question you can check our “The Team” page and contact us directly if you’d like.

Regards,

Ahmin & Pandayeu

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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10,380 thoughts on “About & Our Criteria

    1. But you’re Chinese, so how is Korean better than English? There aren’t many Korean songs that I know that are good easy baritone songs. You can try Fools by Troye Sivan in English if that’s okay with you.

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  1. I found a vocal analysis page on Facebook that rates singers by percentage and I was wondering if you agreed with any of them. Here’s a few of them but they seemed a little bit low to me.
    Wendy-74%
    Hwasa-59%
    D.O-75%
    Seohyun-52%

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      1. Ok thanks for the clarification. I’m not an expert by any means but I did find that they seemed off with their analyses. I even saw them rate some singers supported ranges even lower. I know some singers like Regine Velasquez aren’t top tier Vocalists but she has a decent supported range at least. I felt like them giving her a 60% Rating was really low.

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      2. Honestly percentages are so wrong for singing. Descriptive words mean something but a percentage is just so.. what’s 100? Is there anything like 110? Is 100 perfect? It’s just a dangerous system.

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    1. Like I said before, you have a lovely voice. I recommended this song as a baritone song and it sounds like it’s in a very comfortable range for you, which is good. But I’d much rather hear you singing vocal exercises to be able to help you practice. Singing songs on your own is okay, but it’s basically guessing. You need to have exercises that are working on a specific objective for your vocal cords and then bring that into songs. You sound like you have inconsistent support because of how you push, you’re not keeping the diaphragm expanded. You aren’t always keeping the diction clear but I believe it’s better than last time. You push air, you get a bit tight sometimes and sometimes lose the pitch. You are naturally gifted for singing so picking up on better vocal habits shouldn’t be hard for you but you have to make some changes on how you’ve been practicing. Vocal tips #8, how to support.

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      1. A little bit surprised that you recommended Fools. The Pre-Chorus always bugs me because the original song always demands the high mixing/falsetto at “Tanqueray”. Somehow when I sing that song, I always have a feeling that I need to reinforce excessively my legato in the verses, especially in the lower, chestier notes. The hook is easy as a piece of cake though

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  2. To what extend is a consider a “somewhat developed register”? What kind of requirement or development register has to be shown to consider a resister as developed?

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    1. It depends on the quality of tone, the extent to which they support, the consistency of the support. For example, you could say Tiffany has a somewhat developed head voice with inconsistent support, whereas Younha has also a somewhat developed head voice with more consistent support. Neither of them are fully developed, not as much as let’s say Ailee or Shannon. Taeyeon has a more developed head voice than them, so it has to do with the tone quality produced, how high/low the support goes, the volume control, the ability to resonate in that register, the consistency of support. There are many factors that come into play that can’t be measured with numbers.

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  3. Thank you sooooo much for your hard work! It’s much appreciated, I think what you’re doing is wonderful and not many people choose to do something like that for free just because they enjoy it and want to be helpful!

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    1. Oh I’m so sorry! I saw your other comment just now and I’m not sure why I didn’t respond to it, when you sang in Cantonese! I’d rather hear how you’d sing if you did vocal exercises. I hear no real support, issues with diction and nasality, not much happening with the throat or soft palate and pitch issues all over both the other recording and this. Which is common and understandable if you’ve never had lessons! ^ ^ But I recommend exercises.

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      1. Sure, thanks a lot. Trying to do Breath support exercise and hm and ning just in the 3rd and 4 th octave… Learning singing techniques is just the same thing as learning thing. It does requires time. Thanks for the suggestion

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      2. Not to annoy you, but I shall record my vocal exercise next week. Just to space out things a little XD We all know you are working real hard to put out new analyses. (kpop fans are watching you)

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  4. Hi. Could you help me a little bit?

    I’ve been having problems with my larynx recently. I can use my larynx in four different positions. The first one, is an obviously low larynx, the fake soulful tone. The second one, is a very neutral larynx, which starts not moving in low notes (precisely F2 to C3/C#3 but with almost no volume, can’t go lower), and as I go higher it starts “tilting” and moving up and down, but never only up. The third one is a slightly high larynx. It doesn’t keep “tilting”. It’s where I most sing, and although I think it’s not the right one, it literally doesn’t move, and stay in that almost-swallow position calm, not going higher even in higher notes. And yes, I have problems with volume even in higher notes with this third position. And I can’t make lower notes than A2/Bb2, my low notes stay very limited.

    And the fourth one is an obviously very high larynx. I never sing there.

    My trouble is with the second and third positions. I’ve been singing with the third position, like a slightly high larynx but not that much, and I think it’s not the right one. Even you said it should tilt. And I have problem with volume.
    But the thing is that, while the third position is a lot more light, singing with the second position (which I think it’s the right one) makes me feel… tension? I feel like I’m stuck in that position of the larynx, like I can’t be free or go beyond my neck (I don’t know how to describe it less stranger haha). And with the third position I feel a lot more free to go through my connected range. Mainly because I feel weird singing notes like F2 in the limit of my chest voice with no volume when my first passaggio is at around Eb4.

    If you could help me to know which one should I sing, I’d be glad.

    By the way, this problem goes to my speaking voice too. Unfortunately, I have the costume to always speak in that third position, which is why I came to have those problems. If you see my comments, there’s one in the Leo analysis which I said that I have similar problems with high larynx. My speaking voice has almost no volume, although it maintain the light quality of my voice. It’s because I’ve always been speaking like this (shy person…). And the thing is that it’s gonna be another “impact” in my singing, since it changes a lot. Like… the light way I used to sing before, if I sing in that more neutral, it becomes a little bit “manly”, and add a little bit of weight, even though I almost have none.

    Thanks for the attention 🙂

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  5. Hey Ahmin, a late happy new year! 🙂 I hope you got enough time off to rest and do the things you want! Would you be able to take a listen to see how my exercises are progressing? Last time you told me to drop the jaw more and I’ve been trying to do that, but I don’t know if this is enough? To be honest I don’t feel I have improved with the ya-ya, it’s frustrating but I just can’t seem to feel the connection with that exercise when transitioning between notes. :/ I think ‘ba’ is getting better though since it’s now possible for me to make sound on notes that I couldn’t hit before-correct me if I’m wrong though!
    Also I had a go at trying the head voice exercises but it sounds…really bad compared to how I hear it in my head–I hope it doesn’t give you a headache listening to it hehe. What am I doing wrong, is it pushing too much air with not enough connection?

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    1. Hi dear! Thank you and happy new year to you too! I have yet to really get proper rest but I’ve been resting to an extent. I could use some more rest and hopefully I’ll get some soon.

      Now my problem with the first exercise is that although the connection is beautiful and the projection much better, you’re constantly hitting D4 and C#4, back and forth, sliding kind of. But you were never singing the G4 or any notes you played, you were singing the same exact notes no matter what you played on the minute. Now the connection was good on D#4 and D4 for staccato notes, but it wasn’t the range you thought.

      Do you not hear that when you sing he Ya exercise, you sing Ya-ha-ha-ha, do you detect the H’s coming out? Not just when you sing but when you listen back. You’re not expanding the diaphragm enough. When you sustain notes, your breathing is a bit shallow so you kind of shake. Let the diaphragm do more work, let the rib cage expand more. Don’t be so nervous. Let’s do this, approach these Ya’s like you approach Ba’s. Start the exercise with a ba and then go ba-a-a-a. Because the way you approach your ba’s is pretty good and clean actually.

      The Ooh exercise in head voice isn’t bad, it sounds underdeveloped. So the notes are shaky and not strong, but the connection is good and so is the stretching, it’s just weak for now. You need to not hold your breath so much and let the airflow more naturally. Also try to again keep the rib cage expanded. Drop your jaw more too on the ooh’s. This isn’t bad, it’s just not developed. Loosen up the jaw and keep at it!

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      1. Oh wow can’t believe I didn’t manage to notice that at all! Thanks a lot for all these tips, when I’m listening to the exercises back sometimes I hear the ya-ha-ha but other times, to me it’s less obvious and I am easily fooled into thinking it’s properly connected. And when I’m doing the exercise I have absolutely no clue, it’s only when I listen back that I can hope to tell haha! Attempting to approach the ya’s like ba’s with ribcage expanded hasn’t seemed to do much for me the last two days. When listening back I can often hear that there’s an unpleasant scratchy quality when transitioning. Is it because the cords are pushed together too tight now? I do feel that maybe the third one on the Bb3-C4 might be the better one?
        Thank you so much for your encouragement and patience, I’m just sorry that I’m so poor at following instructions!

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      2. Oh see that’s okay! The scratchy quality in your singing that I’m hearing sounds slightly more like phlegm. You don’t have too many problems with, but it still sounds like you’re breathing up into your chest more so than not. It’s like you’re holding your breath and becoming very tight in your chest. The connection on the third one that you mentioned was quite nice actually. You’re still going Ha sometimes, you have to let go of the pressed tight way you’re approaching your breathing and relax more. You’re keeping the sound locked in your throat, like you’re literally out of breath. You have to let go of the tightness and open up your voice more, but that’s something that I feel typing isn’t going to solve…

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  6. Hi Ahmin! Love your site and videos, they are so informative and detailed. Really appreciated!

    I sang a short cover of Hunter Hayes Invisible not long ago but couldn’t complete it because the other parts of the song were above my belting range. I took 3 months of vocal training and my voice teacher said my belting and breath support were the weakest parts of my vocal technique. She also said my voice was unpleasantly hollow and light. Could you give it a listen and tell me what you think?

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    1. Hi dear! Thank you so much! I must say I agree with the things your instructor has said. Besides belting or breath support, I’d just point out that there are many issues that are a result of no support in your singing. At this point, you slide throughout notes a lot, without ever really being at the center of the pitch desired. You push quite a bit when you get higher, but in your mid-range you’re very breathy, your diction is lazy and unclear, and you’re not really expanding the diaphragm, nor connecting the vocal cords. It’s all issues that be fixed, but as a result of no support, your sound comes out as light, breathy, hollow, pitchy and tight throughout. I’d be interested to know how your instructor was addressing such issues.

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      1. Hi Ahmin,

        Thanks for your feedback! My teacher encouraged me to sing scales while lip trilling and leaning forward. I was wondering if it could also be due to not being physically fit – I am moderately skinny with a bit of tummy fat but I could just be lazy with engaging the diaphragmatic muscles… Despite doing scales consistently every lesson, I fail to belt up to a G4 in chest voice and flip like a chicken up to a wimpy sounding G4. Currently, my consistent range is from E2 – F#4 with head voice up to E5 (F#5 shaky peak). I rarely use my falsetto and my teacher did not touch on it during the 3 months.

        An interesting note was that when my voice teacher first heard my voice, she compared it to a very androgynous-sounding Chinese singer called Sodagreen and said my voice was similar albeit sounding quite a bit lighter and brighter (I’m 17) due to my age I reckon..

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      2. No, your body proportions wouldn’t affect your ability or inability to sing with basic support or to sing with diction. I think it’s the lack of actual engagement of proper support, it’s just not happening. Did you stop lessons?

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  7. Happy New Year to you talented analysts! Firstly I apologise for the length. I’ve been a lurker here since 2015, and I absolutely love what you guys are doing! I’ve learnt so much and renewed my interest in singing and music from the analyses here (never took any singing lessons sadly, but enjoyed school choirs and used to play piano/attempt to compose music). I’ve showed them to a lot of people as examples of great technical writing. When I first got into k-pop I was surprised by how much ‘decent’ live singing was going on; I was never into pop music before but, to me, k-pop showed actual talent in an industry of ‘manufactured’ music because of the effort they put into performances. So I was (and still am) a fan of YG artists, but realised how despite the mostly live singing a lot of vocal issues were present.

    I feel that I can now ‘detect’, at least to an extent, some of the flaws in vocal technique whenever I hear live singing. I was a casual fan of musicals but lately have been getting back into them as I’ve seen that you refer to idols’ performances in musicals as examples of where their vocal technique has improved (e.g. SNSD’s Seohyun). Is this due to the fact that there is a different ‘style’ of singing for musical theatre, or are they just taking more vocal lessons from a vocal trainer to prepare for the role, fixing some of their current issues in the process?

    I know you only answer questions on k-pop but I wondered if you’d heard that a South Korean production of Bare: The Musical is currently showing, and was showing in SK in 2015/16/17, something I was quite surprised to hear. Clips have been posted on YouTube. I’d watched the 2014 US version on YT, and very much enjoyed the quality of the singing, though the most obvious vocal issue to my untrained ear seemed to be strain. I admire musical theatre artists so much as they’re acting and singing at the same time, which I suppose is natural when singing emotional songs but is probably quite hard work, not to mention the dancing. I wondered if you would be interested in giving me your thoughts on this performance?

    https://www.youtube.com/watch?v=gFgqdgDxmis From about 2:21. I’m curious about the technique of this vocalist, whose performance has honestly moved me to tears: are there any obvious issues present here, and what are his strengths in this part specifically? I’m also curious about the technique of another vocalist singing the same song, at the same part. To me, he seems to be having less difficulty, though it may be because the audio is slightly better in this video:

    (From about 2:27)

    I’m obviously not an expert and know zilch compared to you guys, but I think the second vocalist is quite skilled (of course both are in their own ways). In another performance of his, a very interesting one dynamically, I’d like to ask about the use of technique in this part. I’m struck by the dynamics of the composition itself, which I find to be immensely moving, but I’m curious as to how he is using his voice/vocal technique to create this mood? I think it’s more than just injecting emotion into his voice through skilled acting, but I don’t know enough to tell.

    The whole song is absolutely brilliant, and I’m curious about all of it technically, but especially the part from 2:21 to 3:30 in terms of dynamics. There are so many Italian terms describing dynamic changes in volume, crescendo, mezzo-forte, messa di voce, but I suppose they’re mainly used to describe operatic singing and score composition? I don’t think you guys discuss dynamics much – correct me if I’m wrong on this. It’s something I’m very interested in but I know it’s not a primary technical issue to be discussed, as it should be used to compliment an already well developed voice.

    It’s a tall order to ask you exactly how he uses his voice, but I wish I could describe what he’s doing somewhat technically. I have a relative who dabbles in singing (he’s mainly a songwriter) and I really want to show him this video, as I’ve shown him a lot of proficient/good/great k-pop singers already (Taemin, our beautiful and talented angel Jonghyun, Taeyeon, Kyuhyun, SoHyang). Even if you can’t look at it, I hope you check out the performances from the musical on YT if you haven’t already as I think you guys would enjoy them. I was so shocked and happy that South Korea did a production of this musical, as it’s so controversial there, and I commend the artists who worked on it. If you guys know who they are, I’d be grateful to find out! Thank you so much and best wishes for 2018.

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    1. Hi there! It’s alright, I truly appreciate lengthy comments and especially the support and trust you’ve put into us! Not only showing us off haha but also keeping up with us since 2015! That’s amazing and we are really thankful!

      I believe that I can only guess at this point for the musicals question. I can’t say if they’ve taken lessons or if they actively seek out lessons for musical roles, but I do know that because the genre requires cleaner singing, if you will, it gives vocalists more of a chance to employ better technique. Now musical singing isn’t automatically good vocal technique singing. Many musical vocalists are quite chesty and shouty, but overall it does require better stamina, better connection and projection. Most musical songs can’t be sung with nasal, breathy high larynxed singing like pop songs can due to the nature of the genre. Now that doesn’t mean they automatically improve in musicals.

      In Korea, I’ve noticed that many musical vocalists aren’t just shouty like American ones. (I’m speaking from watching a lot of videos from the Broadway Princess Party videos on youtube lol) American ones tend to be supported but pushy. Now Korean ones often are completely unsupported. I listened to the whole production of Mama Mia, the Korean version, and personally I don’t think even one of those vocalists used proper support to sing at all. They all seemed to be all in their throats. Now there are many good musical vocalists in Korea, but it seems to be a less explored option for vocalists so perhaps they’re not as strict? I’m not sure.

      Now this vocalist you’re showing me. The first one, he seems to engage better support when singing but sometimes drops it. He’s not shallow all over, but he drops support a bit too often. 2:15 2:25 drops of support and flat notes. 2:32 He seems to be more in his throat than not around F4 and G4. 2:48 Like here, there’s no support. His vocal cords don’t sound fully developed to handle those G4’s and he’s not attempting to mix them, he’s pushing from the throat.

      Now the second vocalist. Wait, is this a gay musical? Oh my god, I love it. LOL This second guy is placing his sound better, and using better support overall but I still hear his larynx going up on the G4’s. Now it’s a lot less obvious than for the other guy but it’s happening here as well. Now the thing is this isn’t a musical song like most where the songs get really intense and then die down, this is slightly intense on some lines within the climax and then it goes down and back up really suddenly. So that’s mostly it, the emotional aspect you might be feeling is from that push and pull of dynamics happening throughout the climax.

      Park Ganghyun, the 2016 guy, he has a lot better support than the 2017 guy and he doesn’t drop support as often but he starts pushing around F4 and G4. It gets really intense and he squeezes his throat. Wow this is a song about coming out, in Korean. I am shocked that Korea has allowed this drama to exist and I love it. 1:36 some pushing on these F#4’s, but nice placement for sure. 2:20 ~ 2:30 G#4 was the highest, very little tension, he was approaching it better. So instead of drops of support like the other vocalist, he has issues of pushing and compressing more than he needs to, here and there.

      We do describe dynamics in our analyses but I personally refuse to use terms like “He sang a G#4 in mezzo-piano” because dynamics in music are subjective to each piece. So if you sing a song, a forte in that song might not be the same forte as it would be in another song. It’s all subjective to how the vocalist is singing. Dynamics aren’t a specific volume universally used in TV’s or something. It’s not like mezzo-forte is always a 6 and mezzo-piano always a 4. It depends, which is why it’s more of a performance breakdown than something we can include in an overall analysis of a vocalist’s technique. So we touch upon it as general musicality.

      I wholeheartedly agree with you and I’m so thankful you showed me this. A gay musical in Korea, it’s absolutely mind-blowing and I’m in love with this idea. Thank you very much and I hope I was able to answer your questions well. You’re welcome to ask more if I’m still not clear enough! ^ ^

      Like

      1. Oh interesting, I never watched Jenna Ushkowitz on this. I didn’t know she’d gone there. Jenna never struck me as a vocalist with strong support in Glee actually, she sounds better here but the support isn’t very strong as she goes up to 1:00 B4’s and A#4’s, I hear more throatiness than I’d like, not enough development in her vocal cords. She is trying to keep the support going, but there’s more tension in her throat than needed, especially C#5. 2:21 ~ 2:41 Same notes that I was pointing out before, 2:41 B4 that was just mostly throaty. It has nice reverb from the mic and she might have a bit of phlegm, but she lacks development in her mix, it lacks openness, more weight to give her more power, proper support isn’t always there. Yeah.

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  8. Did y’all come up with these rankings solely from looking at singers in the industry, or did you think about your students and fellow singers as well? Basically, were they made with the general population of contemporary singers in mind?

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    1. Actually at first, the ratings came from a group of us on a forum on a forum but they would call it different things like weak = bad, average = mediocre, above average = average/decent, there was no real proficient, good, great and excellent were all the same though. See now that didn’t make much sense to me, so I started incorporating proficient in between good and above average, and the more I looked at it, the more it seemed like the one octave of support in the mid-range fit the averagely trained vocalist in pop music in general. So after seeing that, also finding words that were less arrogant sounding, we felt this rating system made more sense. If you look at it, an octave of supported range with no resonance actually is what most vocalists have. Most vocalists do happen to be average vocalists, with a fair number in the above average rating too. What I didn’t count on was how many weak vocalists with little to no support there are, which made me wonder a few times if we should make weak the new average. lol

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      1. Mostly but they can easily be applied to people I’ve been with in the industry. I avoid them with my students though as I find it counterproductive.

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  9. Hello! What exactly is meant by a “balanced” mix? Does it mean that you’re always using the same amount of head and chest voice no matter what note you sing? (For example, you’re using 50/50 mix of head and chest for the notes G4 AND G5) Or does the amount of head and chest you need to use depend on how low/high the note is? (For example, you could be singing a high note that’s 70% head and 30% chest, but it’s still considered “balanced” because of how high the note is)

    Like

    1. Your tongue is tense and not touching the tip of your bottom front teeth. You’re also not dropping your jaw enough and your lips aren’t forward, so the tension is staying in your throat. You’re also squeezing too much. You should probably use a keyboard app or something to help you with the pitch and you should focus on singing lower than that. You started too high, you could even start as low as E4 and not go this high.

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      1. Thanks for the pointing out the things that I need to improve. Sometimes I will my finger on my back of the jaw, just to ensure it drops. And for the tongue, IDK I always bite my tongue and injure my tongue, seemingly I am just a bit scare of putting back of front teeth will injure it. Still trying to breaking away this habit (eye rolling myself)

        Liked by 1 person

  10. Hi,

    Just few hours ago NCT’s Vocal Line released a station. I just want to know how they generally did. If there’s something new from them.

    Ps. Even tho I already said that I want to thank you again for everything. Because of you I was able to realize how my favorite vocalist are really doing and that help me prove that sometimes I was wrong and there is a lot that I still have to learn 🙂

    Like

    1. Hi dear and thank you so much! Someone asked about this with a few time stamps so I’ll copy-paste:

      “In the beginning yknow Doyoung doesn’t sound bad down to C#3, he’s doing the stylistic breathy thing but it’s okay for now. Jaehyun is supporting but he lost a bit of support around 0:33, but it could all be stylistic. They’re both relaxed and supporting, but then as soon as Doyoung comes back he is using far too much breathiness and not connecting enough so even though the support is pretty good, the stretch of his vocal cords is a bit lazy. 1:03 Taeil is phrasing quite a few G#4’s, none of them are supported. They’re all pretty tight. 1:12 that Ah vowel could’ve been much more opened, he is not dropping his jaw. 1:24 Bb4 down to G#4, pretty tight. He is not shaping his throat well enough for these higher parts. 1:40 C#3 for Jaehyun, he has no issues down there when it comes to how comfortable it is for him to hit these notes but he needs to connect more, at least in a different context. 1:59 That phrased G#4 for Doyoung was pretty light and not badly approached, I’m impressed by it. 2:18 That F#4 could’ve been much more opened for Taeil, then the G#4 was very tight. 2:21 Doyoung sounds thinner when he sings lighter, his larynx is high and he is more shallow. Taeil connects better and stretches his vocal cords better but he lacks in openness. Doyoung is a bit more on the shallow less stretched side when singing this guy and he is also thin and tight. 3:08 Jaehyun becomes kind of tight and shallow around F4, which is high for him. 3:14 Their harmonies sound really pretty actually. The high note at 3:17, high larynx and strained, was a C#5. So no, I don’t resonance nor openness from Taeil in this video. He is tighter than usual actually even on F#4, or at least his tightness was more obvious to me.”

      Like

      1. Hey so i’ve noticed this three seem to be weaker than exos vocal line, but i know exos vocal line didn’t start at the level of vocal technique they have now, so i was wondering how much weaker (if it is weaker) their vocal technique is compared to exo when they had just debuted

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  11. I got curious, what rating would you give a singer with a limited supported mix but has a really strong head voice for example let’s say a soprano that could support F3-B4-E6. I was wondering how much one really well developed register would help them.

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    1. If it’s me well depend on the other factors too like maybe can she make resonance, about the nasality, pitch, or so on. But maybe Average to Above Average or Above Average bcs of the head voice and low notes

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  12. Hi! I want to fix the airiness in my voice and incorporate more chest voice in my singing 🙂 Would doing the ya exercise in my chest voice strengthen my chest voice “muscles”? I sing primarily in a head-dominant mix and I’m not really sure how to achieve a more balanced mix. Also, I was wondering if this video was accurate and if I could use these exercises to fix my airiness: https://youtu.be/T99xgK8MpXM . Thank you so much for your hard work!!

    Like

    1. Yes, in theory it should as long as you’re executing the exercise correctly. He seems like a Speech Level Singing instructor. If you do the exercise correctly, it should help but I am not a fan of doing exercises to a recorded track.

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  13. I know that you are very busy. So ignore this comment if you want to. But I just wanted know your opinion about my..my…not really impressive cover.(And my throat did hurt little so that made is even worse. . . I feel bad for the singer/song writer.) Can you tell me what should I do to improve.
    And one more question..(You might or might not have heard this question before.) Can a persons vocal range decrease? I used to aim for very high notes before so I kept straining…and now I can’t even hit that notes anymore. I used to have around 2 octaves without falsetto but now my voice is just 3 octaves and around 1.5 octave of it thanks to falsetto….Is that possible?
    And also I have another question- Can breathing issues cause problems while singing?
    Thanks.
    And this is …well a recording of my voice.(And I went off beat in the middle..)

    Like

    1. Hi Just a user, I’m not Matheus Ahmin but I wanted to try to help you anyways. I’m a novice like you. Hopefully he sees this, I think he just didn’t see your post, I don’t think he’s ignoring you. I listened to your song and I think the main thing is that you’re not connecting the notes together, if that’s what it’s called. It’s my guess but I think it’s because you’re not breathing from your diaphram. You are attempting to sing it using the normal method you use for speaking. you actually have a nice voice. one other thing I notice is when , I don’t know what it’s called but the loud parts at the end of each line you sing is too loud. well actually maybe it’s not “loud” but I believe 100% once you learn how to use the diaphram to control your breathing it will all make sense and your singing will improve 2 fold. my advice is to learn this technique try actually , pretend time no longer exists, slow everything down break each verse down line by line, connect the whole verse together note by note. I think what needs to happen is you’ll need to get into your head voice, I think that’s what it’s called. for me since I’m also quiet and calm and soft spoken I have to pump up my energy to get myself into that singing mode. the mistake I had once I got my energy up was to stop sounding like I was yelling, then I had to calm myself down to try to reach the higher notes. basically you have to amp up your energy while calmly sing. it makes no sense I know but for me that’s how I would best describe it. good luck and hope he responds to you and keep posting so you can get help, don’t be afraid to ask.

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    2. Hey Just a user, I just wanted to say one more time, you have a very nice voice. You can do it, I know it. I would love to have a voice as good as yours. it’s just about learning and practicing singing techniques, all you lack is the skill, you have the voice to be good. Good luck!

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    3. Let me address first your written questions. I’m thankful to Bruce because somehow I missed this question and it was not intentional.
      1. Yes range can definitely decrease if you keep singing in a way that’s too heavy and not productive, your range will decrese.
      2. I’m not sure what you mean by “just” 3 octaves. 3 octaves is normal, it’s what’s expected, most people sing with 3 octave ranges. Now the thing is you need to open up.
      3. Yes, breathing problems can definitely affect singing.

      Now I don’t know where you’re from exactly even if I may know your IP Address, I hear an accent on your R’s and some words. Most of the time I believe you’re overly emphasizing R’s. Your issues are very common. Overly enunciating spoken diction by singing and making the sound stay too long on consonants. Sound travels through vowels, so consonants should be passing sounds, ESPECIALLY R’s. You also sing with way too much weight in your voice. You push your larynx down on low notes and higher notes and you sing with such weight that your voice becomes very stuck in a low placement. You’re placing the sound low, so the higher notes have absolutely no freedom and they’re not being placed where they’d feel more natural. I’d work on creating a sound that’s more natural and true to your own natural voice, by keeping the throat open, larynx neutral, tongue forward and jaw dropped. You also shouldn’t use volume to sing higher, you should be able to sing the same note in every single volume you want if you have full control of your voice. Have you tried practicing with the vocal tips for K-pop fans series? I’d recommend #8, which is honestly my recommendation for everybody who’s a beginner. Support has to be established in a natural manner, without pushing.

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  14. I don’t know if he’s been asked before but I would like to ask you guys some questions about Lee Habit. He’s a trainee under NH media (U-kiss’s and Laboum’s company). He started singing at 9:53 – 10.23

    and in this clip he started to sing at 1:40 – 1:52

    Is he a baritone? He sounds like a baritone to me. Can he fully support? I notice his vibrato is wobbly so he kinda have a problem with airflows.

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    1. He sounds like a baritone to me too. I think he has some support, perhaps he was never singing in front of YG so he was really inconsistent with airflow and losing his pitch. He sounds particularly nervous. He has some support, but it’s not fully developed. I’m sorry I missed this question, I don’t know what happened.

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  15. Hi ahmin, how are you doing? ^.^ I see jerry is pretty close to being analyzed so I thought I’d just compile all her cover videos. I realized I could just link the yt channels but Im writing this as I finished so whatever XD. Feel free to take your time, there isn’t really a lot of videos, but I hope it’s enough for an analysis *praying*

    (I only did this in order of year, not in months and days, so I apologize DX. I’m not sure if its important but she doesn’t seem to have changed drastically for me so im hoping its fine…)
    2014

    Let It Go

    Slow Motion

    Put Your Hands On Me

    Because Of You

    2015

    Girl On Fire

    National Anthem

    ???

    ???

    Saving All My Love

    Take A Bow

    Cry Me Out

    Don’t Know Why

    I will Always Love You

    Snow flower

    Phone Number

    IU good day

    U and I

    Mama Do

    Barbie Girl

    Snowman

    Tears

    Run To You

    Azalea

    Chine

    I Will Show You

    Bar Bar Bar

    Santy Claus

    ???

    She might have more videos on here http://www.yy.com/u/1373621046 but I probably already posted some of them

    2016

    Let It Go

    Listen

    Chinese song

    IU

    ???

    2017

    And her yt channel has all her recent covers so I dont think i need to post them all
    https://www.youtube.com/channel/UCsJ0lJqBb_1cD42hFxNnoUw/videos
    They also have a radio broadcast as a group and 1 for jerry, but they’re like 7 hours in total, so I can skim it, but some of them don’t have good audio. Let me know if you want me to do that ^.^ Anyways, have a good weekend!

    Like

    1. Oh my god, this is amazing! Thank you so so much! This should definitely be more than enough, I’m very excited to analyze her as soon as I have some more free time! I think I was hoping to see something more from when she debuted but I can find that on my own! Thank you!!

      Liked by 1 person

  16. Hi, could you help me identify the key of this song:

    If there’s any key changes or modulation can you point them out.

    It doesn’t sound like E minor which is the original key, i think.

    I’m trying to rearrange the chords for a musical performance at my school

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    1. The original key is E minor? As in Tom Jones’ key? Cause it sounds like it’s in C to me, with a degree of A minor maybe in the verse? Maybe it’s A minor. Either way this version is a tone up, so B minor or D major, same accidentals. The tonic seems to be B so I’d say B minor. This key is G minor: http://www.akbobada.com/musicDetail.html?musicID=30029
      3:59 modulation up a semitone, from B minor to C minor. It ended on C Minor.

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    1. He sounds fuller not in a mature way but in a way that his upper belts sound much better than I’d expect in that range. This will be interesting when I analyze him.

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      1. I said it will be interesting when I analyze him. It’s one single performance, that is hardly enough material for me to talk about consistent improvement. So just wait please~ ;3

        Liked by 1 person

  17. Hi, Ahmin! How have you been? I’ve been watching these youtube videos recently about how the larynx should be when singing. Even after watching a lot of videos I still can’t tell whether or not my larynx stays neutral when singing. Can you please point it out for me?
    I haven’t been singing much since the start of new year though because I had asthma, but I’m a bit better now. Sorry for always bothering you and as always, thank you so much for your help!

    Like

    1. 0:20 Your lower range sounds pretty nice here! I am very impressed! 0:48 This could be more open and more relaxed, but not bad at all! Your C5’s are not bad throughout, they could just be a bit more opened but you sound really REALLY good in this!

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      1. Thank you so much! I was trying to hold an incoming cough on the “nokseulji andorok” part though so it sounded a bit awkward hahahaha. Should I wait for my cough to subside before I practice again or is it okay to practice with a cough?

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      2. Got it. Thank you so much. Also, I just have to say, I can’t stop listening to your cover of Wildflower, it’s so beautiful!

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      3. It did come out great! I hope you do more covers. Here’s hoping for a JongHyun – End of the Day cover or a Don’t worry, my dear by Jeon Inkwon cover. Ohhh there’s a lot I wanna list here but I don’t wanna pressure you or anything.

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      4. Awww actually I’ve sung Don’t Worry My Dear live before but I’m not sure I’m ready to sing a Jonghyun song yet.

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      5. I would never call that F5 horrible. Horrible is what some vocalists do when they try to belt F5 in a song but then give up because their throats are too closed and then let the backing vocalists do it instead. (I’m not gonna say who but…) This was just tense and very heady, but it wasn’t bad. The A5 was pushed with a bit too much air for me, but it is well placed and it’s not far from being there! It just needs to be tweaked and reworked on.

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      6. Thank you so much for your help again!
        You sang Don’t Worry My dear before? I wish I could’ve seen it!
        And it’s quite understandable to not be mentally ready to sing a Jonghyun song yet, I’m sorry for even bringing that up hehe.

        P.s. Sorry if my English is a bit confusing, it’s not my first language hahaha

        Liked by 1 person

      7. I saw it! It was with the Can You Hear Me cover. Ughhhhh, I can’t get enough of your voice, I also saw your You’re Beautiful Ost cover. I hope I get to meet you someday and hear you sing live.

        Liked by 1 person

      8. You’re too kind! I don’t know how to respond to compliments though because I’m not used to them so I don’t know if I should say “Thank you”. Hehe. But seriously though, it would be so nice to learn from you. I can’t find a vocal teacher here in our town.

        Liked by 1 person

  18. Hi Ahmin! How are you? I know this is late but Happy New Year. Ummm… can you please help me to find where my passaggio is? Also, I want you to tell me what’s my problem and what do I do to improve my voice? I really like to sing but I couldn’t really stay on key or support a note. And I know that you need an audio to hear me sing but I don’t really know how to send it to this site. (Sorry for my English :))

    Like

      1. I’m very sorry if this is sound terrible. All notes in this audio aren’t supported right? It is breathy, high larynx, and tight. I want to ask you something is the very high note in this audio, is it a head voice? You can give me many critiques and advice as you want and I don’t mind, I really need all of it. Oh, yeah I’ve watched your current cover and I really love it. The resonant at F#4 and then sustaining it like it was nothing is making me have an eargasm and flew to the heaven. Great cover. Random question. What’s your favorite album and song from Mimi (you know who it is)?.

        Thank you so much. ^^
        Hope you have a great day!

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      2. Hi there! Yes this is a lot more helpful for me to help you. Now the thing is you seem to be aware of your issues already. I wouldn’t say everything is tight nor a high larynx, but from the start you’re very breathy indeed. 0:08 A3/B3 range you start to really close your throat, like a lot. It sounds like you’re not really dropping your jaw and your vowel is really closing your throat completely. So what you been doing to work on your singing? Have you been doing exercises at all? I highly recommend vocal tips #8 for you. You need to work on all the basics of keeping the jaw in one place, the vocal cords connected, the support engaged, and it just has to be habitual exercise for you. Your highest note was a very underdeveloped head voice C5. Awwww you’re so sweet, thank you so much! I’m very happy you liked it! I feel like if it’s who I think it is, it’d be the emancipation of mimi, my favorite song probably is Shake it Off or Always Be My Baby.

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      3. Thank you ^^
        Mine is Butterfly and the song is Petals or The Roof. One more question? Could you tell me where my first and second passaggio is? or what my voice type is? Since long ago I’ve seen some of your analysis, where there some singers who have “A/N” supported range and there still will be a voice type of them like tenor or baritone. I’m guessing that I’m a baritone. I know this such us unimportant thing to do. But I’m just curious. I actually have been doing some exercise long ago like a hiss sound, lip trill, humming, and any other. But rarely to do it. Do you think I can improve in one month? If I practice every day. Oh yeah, one more. Why as I ascend above C5 in head voice it feels like I have a tension and can’t go any higher like it’s stuck and hitting a ceiling. The strange thing is that my falsetto seems to be freer and I can hit 6th octave while in head voice I couldn’t even pass A5.

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      4. I’m not entirely sure of your passaggi, but I do think you’re a baritone. You can improve in a month for sure but it really depends how you practice. Well simply because that’s exactly what’s happening. Your throat muscles close and neutralize the movement of the vocal cords, so the larynx raises, becomes trapped and so the vocal cords can’t stretch and your range stops suddenly.

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  19. Hello I would just like to ask what is the best way for someone to expand their supported range? Would staying in a comfortable range help with expanding a person’s supported range or do they have to challenge themselves by going slightly higher or lower to expand their supported range?

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  20. Hi Ahmin! When you sing nasal consonants, are you supposed to drop your soft palate? Or are you supposed to modify the consonant or keep it the way it is? My nasal consonants sound really weird when I focus on raising my soft palate, but maybe I’m not doing it right.

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    1. The consonant can’t really be modified but the sound in singing isn’t transported through consonants, it’s transported through vowels. So it doesn’t quite matter what happens with your soft palate on the consonant as the sound is present mostly in the vowel, which is how the soft palate will move and adjust as you shape each note you sing.

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  21. Hello, I’m a new reader. Your blog has been very informative, and it’s actually fun when you managed to grasp the concepts little by little. This blog really provided me a lot of insight, especially to someone like me (who knows nothing about technique).

    On some of your posts (including comments) I recently learned that there are idols who went through vocal decline. Do you know what are the signs? How do they lose or experience it? Like e.g it lowers your registers etc. And I’ve been itching to ask if you accidentally adopted a bad singing technique, how do you fix it? Thank you.

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    1. It really depends on your own habits and experiences. The signs usually show when their technique has worsened, when they start to sound different, sing with different habits. Notes that used to be easy sound like they’re consistently difficult for them, and many times it’s caused by vocal habits that weren’t properly fixed for example. But if it’s really bad, it can even make your voice drop in range due to the abuse. If you accidentally adopt a bad habit, you just have to unlearn it. Target it and keep fixing it.

      Like

  22. Hi Ahmin, I saw you helped someone else here critique on their singing so I wanted to ask you for advice on my singing. I’ve been trying to teach myself how to sing by singing along to songs I like. I’ve given up a few times because I thought my voice is simply not designed for singing but I keep trying again for some reason. Can you please give me advice like is my technique somewhere in the ballpark as far as being correct goes? To me , I am pretty sure I am not singing the notes correctly and I think I have some strange accent or incorrect pronounciation which I’m not understanding what it is I’m doing wrong because in the past people have said my English is very good. I am vietnamese but since the age of 5 I’ve been in the US for a long time. Anyways can you please tell me if I’m in the right direction and what things I’m doing wrong or correct? I am not familiar with singing terms so if you said something like I’m about 60% in the right path or my singing is about average or slightly under average, etc that would make a lot of sense to me. My approach to teaching myself so far is first trying to hit the correct notes, then I have to literally pump up my energy in order to compensate for my voice because normally I speak quietly and calmly. Also my natural voice is low, I can do an impression of Batman that’s about 70% the same. I don’t know if that’s part of why I have trouble singing. Here’s a file of me singing. I shouldn’t have sang the girl parts, but I was trying to put in my best efforts to show what I’ve learned so far so if you laugh it’s ok. Please help me and thanks. https://soundcloud.com/eksine/pinkcloud

    Like

    1. Hi Bruce! Thank you for reminding me about the other user whose question I missed.

      You see the thing is the way you sing is very similar to what I’ve heard from many Vietnamese speakers. I have rarely seen a Vietnamese person not sing while placing their sounds in the back of their throat while slightly lowering their larynxes. Now given that you speak English, this is more subtle with you but it’s there. The way you place your sound and the way you vocalize, especially with high notes, is done by tightening the throat, keeping the sound small in the back of the throat and using too much of a low larynx and tongue tension. Now I’ve seen you comment quite a bit so I’d like you to know that my advice to you is the same as for many.

      Embrace your voice. If you’re not a tenor, don’t try belt C5’s like you are. If you haven’t learned to sing, don’t try singing songs and hope for the best. Try vocal exercises, warm up your voice, target issues. Diction and throat shaping being one, as well as breathing. Watch vocal tips #8, understand the basics of support. Understand how to keep your jaw dropped and your throat opened while using the vocal cords to sing in a natural open manner. Your pitch is okay, but the sound is so blocked right now and I honestly do not think this was a good song choice. I’d rather not hear you sing songs, I’d rather hear you singing vocal exercises to see how you practice your singing. Try that and let me know if anything I’m saying doesn’t make sense!

      Like

    2. It appears that untrained singers usually place their voice in their neck position or the back of their throat. I’ve also seen many cases that place their voice in the throat, then they compress their throat muscle to reach upper notes. Vietnamese singers seem to develop their chest resonance but they ignore the mixed register.
      Anyway, this may bother you due to violating the rules, but I am very confused now. Someone told me that these notes are resonant:

      A4 at 1:12, B4 at 1:18, C5 at 1:25, phrase B4 at 2:50, B4 at 3:30,C5 at 3:35.

      Could you take your precious time to check them? Thanks in advanced.

      Like

    3. And the last question, it’s about Yuju. Her head voice at 0:01 and 3:07 are still supported ( except the G5 )? Thank you!

      Like

  23. Hi Ahmin!

    Not sure if you’re familiar with KCM, but I was wondering how he does in the upper 4th octave and 5th octave? He’s constantly singing up there in his mix when he’s performing. Also was wondering about his head voice! Much appreciated! Thanks!

    (2:45 – 4:49, for head voice: 4:49 – 5:12)

    (3:01 – 3:15)

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    1. He thins out his throat a lot and sings with narrow vowels to make his higher notes come out without as much weight and effort, but I wouldn’t really necessarily call it relaxed nor supported singing since there’s tightness and tongue tension blocking his sound. It’s similar to what Kim Jongkook does, except he does it with a lot less issues. His head voice is more of a pushed falsetto. I’m not entirely sure how to feel about his mix.

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    1. It depends on the guy. Justin Bieber had a late puberty so his voice type didn’t settle for a while. Samuel sounds young but it’s hard to tell. He sounds a bit baritonal but I feel like he’s a tenor, but I’m not sure. 1:46 and 1:54 They’re pitchy, shaky and imprecise.

      Like

  24. Jessie j sing “i have nothing” in “I Am a singer 6”

    correct me if i am wrong plz
    1:23 supported A4
    1:29 resonance B4
    1:31 resonance A4
    1:37 resonance Bb4
    3:08 resonance Bb4
    3:12 resonance B4&supported A4

    Like

    1. The video is unavailable. Please do not ask about Jessie J. I’ll tell you I’ve heard Jessie J produce resonance up to C5, in Part Of Your World from the Disney album she was a part of so notes below that have a high chance of having resonance.

      Like

  25. Are you farmilar with a Zhang Li Yin? She’s a former SM ENT vocalist. If you are could you tell me her supported vocal range?
    What was the note at 3:10 and 3:13, we’re either of these notes supported/resonant?

    Also how’s her agility, at :56, 1:20, and 1:36

    Like

    1. Yes, I know her. I can’t tell you her supported range because I’ve never analyzed her. 3:10 ~ 3:13, no, there’s no resonance here. These notes lack balance, they’re super heady and slightly nasal cause she’s not opening her throat. She definitely supports, but she gets SUPER heady above B4 or even Bb4. Those were B4’s and a D5. 0:56 1:20 1:36 her runs are actually generally really well separated, really smooth and pitch accurate. The ease and freedom in her vocal cords shows.

      Like

  26. If it’s not too much of a burden, can you comment on this cover of mine. I want to improve my singing but I’m not entirely sure of my problems. I’m pretty sure I have horrible larynx positioning causing me to strain, I strain really really really bad and there’s this… idk child-like(?) Voice that appears everytime I’m trying to sing high notes. I’m also unsupported most of the time. I also struggle with chest voice… I tend to sing with head voice too much.. I think.

    Listen to I’ll go to you like the first snow Cover by J #np on #SoundCloud

    Like

    1. Hi there dear! Your chorus in this song was a lot better than the verse. You have tongue tension in your singing throughout, but you tend to sing with too much breathiness in your lower notes and swallow your tongue. On higher notes you keep the sound much better placed and you connect better overall. You’re soft, all of this headiness, lack of chest voice development and the breathy quality will make you sound like your voice is more child-like than it could be. I wouldn’t recommend singing in Korean, but your diction isn’t bad and you aren’t thinking too hard. You changed the key of the second on the verse so be careful. How do you practice your singing? Do you do exercises at all? I’d recommend singing with an instrumental if you can’t keep the key center by yourself. You have less issues than most beginner, but the tension, breathiness and lack of chest voice get in your way.

      Like

      1. Thank you so much your critique!

        I don't do any vocal excercises. But I do sing / practice songs in karaoke from time to time,

         I'm thinking of doing vocal excercises and is currently finding the right one for me.

        I found your channel recently and I've watched some of your vocal tips videos, I'd probably adopt some of the excercises you gave out v^^ you really made it easier for people to understand these vocal terms.

        Hmmmm I'm still confused about tongue tension and larynx. For tongue tension, I know that tongue tension will make your neck and jaw feel sore(?) after singing but when actually singing I still don't know how to identify it. And as for larynx, I still can't differentiate the sound when someone uses an improper larynx positioning but I could only differ when their faces shows that they are having a hard time to push the sounds out. At first, I thought bad larynx positioning is just when the voice sounds too "throaty" or "forced" but I watched some example videos just now and I can't really identify because some people sound so natural, and they are hitting their notes fine but apparently they were singing with too high(?) Larynx.

        Liked by 1 person

      2. Well it’s not always super obvious if your ears aren’t trained so it’s understandable. I did make a video about tongue tension.

        Like

  27. Hello! This is @JikookMani from twitter when I asked you about Jhaunell

    I made a vocal channel about my favorite singer Normani Kordei, from Fifth Harmony

    This is her vocal range for 2017 Only https://www.youtube.com/watch?v=5lNsXlV3Q38

    Her whole range is C#3-G5-Eb7

    I think she supports A3-G4 or A3-G#4 but I’m not sure. I was wondering if the F3 at 0:28 was supported. I also was wondering what do you think about her voice/technique in general.

    Like

  28. Hi Ahmin, I was just wondering if it’s okay to ask for vocal advice over email? I’m having a lot of trouble with singing and I’d really appreciate your help! :c

    Like

  29. Hey Ahmin,

    It’s been a while since I’ve done full covers, so I did three recently:

    Feeling Good: https://vocaroo.com/i/s1bqQgC84EhU

    Listen: https://vocaroo.com/i/s0clILVUK0vu

    And I Will Go To You Like The First Snow (this song is so precious 💓): https://vocaroo.com/i/s0Ar0cnvt9yf

    I feel like I improved, but I let you judge… Btw Ahmin, you really made my singing journey incredible, it’s really amazing how people like you give their time to help other people 😢 ! I hope your efforts and blog won’t be forgotten in the future !

    Like

    1. I do think you’ve improved too! You have such a strong rich sound, it’s not nasal, it’s open, it’s round and has great quality. You have confidence. What I don’t think is going for you is some parts where you try too hard to add runs that may not fall in key, like at the end of the first chorus of Listen and the second verse seemingly being kind of out of key. Stylistically, I’d also try to make sure the runs make sense and aren’t overdone. There’s also some tongue tension on the lower notes and your accent making your vowels a bit too wide. They should be opened vowels, but you make Own sounds like AAAAAAUN. Make sure to round out the sound, drop the jaw, don’t make your mouth wide. Otherwise you sound very good, you seem to have gotten more comfortable and in control of your voice, more aware of placement, more aware of pushing and keeping the throat opened. Overall, you’re quite a lot better! So good job! The Ailee song is a lot less of a soulful song, so you’re not overdoing runs and your vowels are more consistent, so it’s a cleaner performance. The vibrato can be a bit too wide. You could’ve changed the key of the last two songs to a baritone key. If you changed the key, it’d make the sound fit into your tessitura better, brighten up the key in your voice and make the song stand out more. Try singing Ailee’s song again 3 semitones higher.

      Like

      1. I’m really disappointed in myself because 75% of the time, my voice leans more towards balanced/heady and 25%, it’s heavy/chesty and surprise, I always send you audios when my voice is chesty af. And I make C4 sound like E4 lol. I will try to stop throwing dumb runs, a few sound good but there are too many and they don’t always have the better musical direction yes. I tend to do runs when I don’t really know the song.

        Actually I struggled a bit in the Feeling Good cover so I don’t really think a baritone key is a good choice for me now. I’m quite consistent at sustaining notes but when it’s phrasing, I’m a mess oops. I will try that though and if it’s not a mess, I’ll record it.

        Based on these covers alone, do you know what is my supported range ? I think the highest was F#4 in Listen and Feeling Good (that was awful) but I just support up to E4/F4 and I didn’t even expect to hit a F#4 at the first place.

        Like

      2. Oh I wasn’t talking about feeling good, I meant Listen and definitely Ailee’s song. I think more important than supported range, it’s your consistency with vowels and throat shaping. I really don’t want to give you a supported range, just be comfortable with yourself.

        Like

      3. Yes I know but based on Feeling Good, I don’t feel comfortable in a baritone range. I think the highest note in the Ailee song is a E4 (“DEUreul” towards the end) and it becomes a G4 (!) if I raise the key by 3 semitones… that’s too much

        Just wanted to ask
        https://vocaroo.com/i/s0ixpsfdsIhQ
        Are those quick F4s and F#4s well produced ? I think I’m slightly getting better and it’s decent but I’m not too sure..

        Like

  30. Hi, Ahmin. I have a question. I’m fully aware that the falsetto and the head voice are two different registers, but I can’t actually seem to differentiate them. I remember asking for your opinion of an A5 note that I sang which I said was in my head voice and you told me that the A5 was pushed with a bit too much air. So was it actually a falsetto? But most importantly, is there a distinct sensation, in the throat or somewhere maybe, when singing in falsetto or does it more or less feel the same as when you’re singing in head voice?

    Like

    1. No, being pushed with air does not mean it’s a falsetto note. Head voice can be pushed with air pressure, many times it is. It definitely feels different but that’s because of the actual muscles working when you sing them. Falsetto is not using the same CT and TA muscles, it only uses the CT muscles while the head voice uses both. Which basically means head voice connects with the head and chest voice muscles, while falsetto does not.

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    1. They do say that imitation is the sincerest form of flattery, but no, I do not agree. Simply because this isn’t an analysis, this is a rough breakdown and it has no depth. I appreciate what they’re doing, but I don’t agree with the execution.

      Like

  31. Hi, I’m not sure where I should be posting this so I’ve decided to post it on the home page.

    I’m curious as to what my voice type is and whether I have been singing ‘right’. I do feel that my singing is very very lacking. I would appreciate it greatly if you could listen to my singing and give me some feedback. It’s a cover of a Mandarin song called ‘How Have You Been?’ without instrumental music.

    Thank you! 🙂

    https://soundcloud.com/user-878260061/a-little-happiness

    Like

    1. Hi there! I really appreciate you singing in your native tongue, Mandarin, because it makes it easier for me to hear your singing where you’re most comfortable. What I’m hearing is that you sing while sliding a lot, a very common thing amongst beginners, so the quality of your singing is hindered because you slide around the notes instead of singing the melody at the center of pitch. On top of that, your jaw stays very tight and you don’t drop it enough, you don’t lift your soft palate, which furthers makes your pitch come out flat and your sound become tight. You push air quite a bit when you sing, so it’s just a matter of reworking the basics and your vocal habits. You don’t have proper support nor consistent airflow, and you seem to think you have a lower voice than you really have. I am not entirely sure what your voice type is because you place your voice low in your chest and you push your larynx down almost throughout your singing, especially your lower range. I’m not entirely sure if you’re a mezzo or a soprano who sings too thick.

      Like

      1. Thanks for giving your comments! I’m actually bilingual with English as my first language 🙂 Wow this is a surprise for me. I have always been told that my speaking voice is low, so I naturally assumed that my singing voice would be low too.

        Do you have any tips for the ‘slide around notes’ problem?
        I know what’s the soft palate but how should it feel like if the soft palate is lifted?
        If one’s singing is supported, how should it feel like?
        Would singing while doing planks help with developing support?
        I’ve tried to consciously drop my jaw while singing but it feels kind of unnatural and weird. Is that normal?

        Sorry for bombarding you with so many question! I don’t receive any vocal training but I would really like to improve on my singing 😦

        Like

      2. Oh hey if you sing in English that’s perfectly fine too! Singing while doing planks can help but it isn’t exactly the first thing I’d do. Have you seen the vocal tips video #8? Those exercises are simple but very effective for singing. A lifted soft palate feels like when you yawn or when you try to unblock ears from the pressure of being too high up in the air in an airplane or underwater. lol If that makes sense. It is normal, watch yourself in the mirror and hold your face like the painting “the scream.” It sounds odd but it works. lol

        Like

    1. He does not support at all. He is honestly not even singing in a key that matches his voice. The song is barely going above C4 and he is making the placement too dark, so it sounds just very monotonous throughout. He is a baritone but he doesn’t have good diction, good placement, basic support nor openness.

      Like

  32. Ahmin, what is the difference between Heady Mix & Head-placement Mix and Chesty Mix & Chest-placement Mix?

    And how to prevent our voice being placed in the back of throat?
    And how to use correct placement for better projection?

    Like

    1. One has to do with the ratio of chest and head voice in the nature of the muscles used for that mixed voice, the other one has to do with where the sound is placed. There’s no special way to prevent it, as in you must be able to feel and hear where your voice is placed and know how to manipulate the air shifting with the soft palate.

      Like

      1. So you can still be chesty even after you placed your voice in Head?

        I don’t know, my voice kind of shallow and hollow when I sing
        If I try to be more open(?), it ends up pushed and kind of shouty even it’s within my first vocal bridge but my intention was never pushing the voice
        Is it true that lack of confidence affect your vocal?

        Like

      2. How to settle lack of confidence?
        Every time I open my mouth just to sing first verse of a song, everyone around me will be like, “Shut up, you has ugly voice tone! It irritates me!” or “Are you singing? Because your singing sounds more like a whining to me” so yeah I even hate my own voice 😂

        Like

      3. I’m no expert but if it sounds shouty or pushed maybe you’re trying too hard? also who’s rude enough to say those things to you? just slap them

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      4. Well that’s something that has to be worked on your own and it’s kind of less about singing and a lot more about self-love and self-discovery. You have to embrace the process of learning without being scared of failing and believe that you’ll get there after a lot of hard work. You shouldn’t listen to people like that, they’re not helpful. Tell them that if they’re unwilling to be unhelpful, then don’t be bothersome either.

        Like

  33. hey ahmin, I know you haven’t analyzed kihyun but could you tell me real quick how he did here, more specifically 00:47-00:50, 1:34-1:38, 1:17-1:21, 2:34-2:39 thanks in advance!

    Like

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