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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10,320 thoughts on “About & Our Criteria

  1. I’m lost with the new criteria but I do understand you guys for changing + why don’t you state Wendy / park hyoshin/ shannon and the others as well rounded vocalists without mentioning them in a lot of categories

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  2. I’m not a singer but I’ve learn a lot about music from your channel! You’re doing a great job! ALso, how do you deal with performance anxiety? I need some tips cause I usually tighten my jaw and my fingers which always hinder me TT

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    1. Well there are a couple of things. I do some breathing exercises, I breathe slowly and then really fast to match my heartbeat, then I gradually slow it down to slow down my heart. Then I always make sure to love the song I’m singing, focus on the lyrics and enjoying myself above all. Don’t worry about being judged, just have fun!

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  3. Just random questions.
    1. What note Baritone and Tenor that equivalent as Soprano C5?
    2. What note Baritone that equivalent as Tenor C5, is it A4 or G4?
    3. What note baritone and tenor start mixing?
    Thank You ^^.

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    1. It really depends on the type of tenor and baritone you are but around Eb4 for a baritone and G4 for a tenor, give or take a semitone. A4 or G#4 match a tenor’s C5. It depends on the kind of baritone and tenor you are, but most tenors are mixing around C#4/D4, whereas baritones are mixing around Bb3/B3. You can mix lower than that though.

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      1. So what I’m hearing mostly in your lower range is unclear diction. I would not recommend singing in a language that you may not speak, so Korean is a no no unless you have a native speaker or fluent speaker working with you on diction. Your tongue and jaw get kind of tense, you barely open your mouth and your tongue kind of closes your throat so your sound is a but mushed together. Then on the higher notes, you use air pressure and so there’s a lot of rasp, your vocal cords aren’t fully connecting and you use H’s to push the vocal cords apart and back together with air. The tone of your voice in your mix is actually very pretty, you have a lovely voice. But there is an issue with pushing I’d say. I’m not sure what your goals are with singing but that’s what I’m hearing.

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      2. Hi ahmin! I really love singing and I want to improve my voice. I don’t know my voice type or anything like that, but I found myself practicing stone cold by Demi Lovato. The highest note is a g#5 I believe. I find myself having trouble with phrasing and singing in the fifth octave. It’s like I carry tension up there. Also I tend to “push” and I feel my throat and neck are get tense and close. I want to hear what you think and was wondering if you have any tips and suggestions. Ty. https://photos.app.goo.gl/d5z7Owx5OvkNizpP2

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      3. Hi dear! Let me just say this is definitely not what I was expecting to hear. lol I was very surprised and not in a bad way at all. Now, you sound like a pop singer and a somewhat trained one. Now you did tell me before that you think you are a mezzo soprano and that you have issues phrasing above Eb5, or in the fifth octave in general. The way you sing is very similar to how Demi sings, or how many Filipina young vocalists sing. It’s very diva-ish, and it’s influenced by high belting divas. You are completely right in saying you feel not only tension but pushing. If you pay attention to how you’re singing, right before you sang there was a very obvious puff of air that came out. Which means before you’re even singing, you’re already contracting your abdominal muscles and pushing air from the diaphragm against the vocal cords before they even get a chance to connect. This causes you to rely solely on air pressure. Now you have immense potential and already a very good base. You have pretty good placement in terms of pop singing and pitch, two things most beginners struggle with as they tend to place the sound in an unnatural place, mostly in the back and they tend to slide a lot and be shaky with air pressure. You over-rely on air pressure and the sound becomes stuck in your throat because you’re so compressed. One time I’d give you is to watch vocals tips #8 and really focus on how you’re approaching singing. Instead of approaching by thinking you have to exert yourself and use a lot of air, try to rely on your vocal cords and trust them. Try to phrase this high or at least up to Eb5, with a LOT less air pressure. Try singing softly in your mix and do so by doing exercises, the two note exercise in the video, and use a softer approach and connect the vocal cords before you even push air. Use connection before air pressure. That will open up a whole new world for you, especially because you already have the range. It’s so much harder when you don’t even have the notes developed in your range yet.

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      4. Thank you so much. I’m only 16 and unfortunately can’t afford a singing coach so I watch videos about singing on YouTube. I tried connecting and going up lighter and I felt a big difference. I still felt some tension but it was not as much as before. It feels like a weight came off my neck. Thank you so much again!!!

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  4. I observed that you (and some other analysts) put more “value” on mixed register than chest register and head register. Is it the right way to say it?

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    1. We may have more to say about the mixed register, but we value them all pretty much equally. The fact of the matter is that many vocalist focus more on their mixed register than anything else. So we have to adjust accordingly that’s all. Ideally, all vocalist would develop their registers equally, but that’s not the case most vocalist choose what they like or what they have a natural affinity for and just go for it.

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      1. Well, maybe I’m just confused because of some analyses, like Haeri and Youngha who are considered to have a high level of proficiency with just a well developed mixed register and their other two register is very avarage at best. While Jimin and Uji considered to be less proficent than them because their mixed is not as developed despite having a much better chest and head register. I think i just failed to understand other factors.

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      2. We look more at the fact that they can see above their first and second passaggi well with proper technique and have expressed this. This isn’t really about singing mixed voice, it just so happens to be that singing through your passaggi also means singing higher in your mixed voice, but head voice is included in this. So we do put more weight not on mixed voice, but on the difficulty of singing through your passaggi well.

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      3. Given that we no longer use terms like “good,” “proficient” etc. it’s best that you don’t give much weight to it now because it’s no longer an issue per se. However, I do understand where you are coming from, but there’s more to it than just that.

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  5. Ummm I have chest resonance up until b3, mixed voice resonance using my mask until f4 sometimes up to g4 and then I have a mixed voice resonance using my head resonance until a4. (My mixed range goes up to c5- i think. But I can’t tell if it’s really mixed because it sounds very heady) My question is, is it bad that I have to switch resonance types to go higher or lower ? And my second question is, do you have any tips for not going flat because I tend to go really flat when I’m singing.

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    1. If this is actually all accurate and true, no it isn’t bad. It’s perfectly natural and healthy to allow the voice to move in placement as you move in range. If you go flat you might be confusing resonance and placement cause being often flat usually is a result of improper airflow, not lifting the soft palate and haven’t trained the vocal cords properly to sing at the center of pitch.

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      1. I’d rather not discuss that publicly in the comment section of the blog. What range do you think you were singing in this audio you posted? Because it doesn’t really exemplify anything you asked about.

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      1. But from what you can hear, am I interpreting resonance correctly or am I doing a really weird thing that’s way off from what real resonance is?

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      2. Oh you used this as an example of resonance? I’m afraid I do not hear resonance. You’re pushing a lot of air through, in order to have resonance your vocal cords must be more strongly and tightly connected without as much air passing through. You must be able to keep an open sound, instead of the way you place your “don’t”s around your nose. Your vocal cords are slightly lazy and there’s occasional flatness, but it’s not too much. You’re more or less relaxed, it’s just…too much air coming through.

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    2. Thank you so much, I have 2 questions and I’ll stop bothering you XD, do I have support and whats the main approach I should take to get stronger and more connected vocal chords.

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  6. Hi I’m a mezzo and I love to sing in mixed voice lately. I did have a bit of trouble singing Bb4-C5 for a while because it was a bit too high for chest but a bit too low for mix, but I’ve been trying to support my voice a lot more and stopped being afraid of an open throat. I do have to get quite a lot of volume though to get those notes in my chest but it doesn’t hurt at all to sing them as long as it’s with support. But I was just wondering if it’s still a healthy technique if i am having to sing a bit louder to reach them? Also another quick question I love singing mix at D5+ and I especially love F5, it’s just before my mix goes heady at G5. But I’m always afraid I might still have a high larynx. Is there a technique or a practice i can use to make sure this isn’t happening?

    Thank you in advance, and thanks for the great information here it’s helped a lot 🙂

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    1. It’s understandable if you need to be a bit louder but do try to control the volume and not get gradually louder as you get higher because you might be using too much air pressure. Try sustaining each note and manipulating the volume with crescendos and decrescermos to monitor consistency of airflow.

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    1. It’s hard when singing in a language that’s not your mother tongue. Careful with the diction, especially your R’s. Non-native speakers of English tend to over enunciate their R’s and that causes blockage from the tongue. There were issues with the pitch, especially with too many slides throughout the melody and the transition into falsetto. Try practicing this song on a staccato bah sound, soft, separating each note, not closing your throat, dropping your jaw and not sliding at all.

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  7. Hello Ahmin and Pandayeu!
    Even though I’ve read the Future Analyses page where it’s written that you won’t analyze Girls’ Generation’s Sooyoung, I’d like to ask about her. Recently, she hold a fanmeeting and she sing there. The song she chose was Jessie J’s Flashlight. The range was a bit narrow and I’m almost sure it didn’t went higher than Bb4/B4. I noticed it seemed like she managed better her airflow, she sounds fairly relaxed, her pitch was fine and even her vibrato doesn’t sound bad, although it’s a bit wobbly.. I’m not going to say there’s established support but I’m almost sure there is support, right? One major problem I noticed is that she places her sound in her nose, that’s why she sounded closed and had some diction issues. I didn’t notice tongue tension tho. Would you agree with what I said?

    I will understand if you’re not able to answer this question.Thank you.
    P.S: I really liked the new system, it really evaluates each vocalist’s strengths, even if their strenghts aren’t really technical. Good job 🙂

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    1. I was already shown this performance and actually I do disagree that her pitch was fine. One of Sooyoung’s weaknesses has always been how shallow and inconsistent her support is, because she doesn’t use her vocal cords much so her stretch is a bit lazy and the airflow isn’t always a consistent stream, so her going flat and sounding narrow in terms of openness is quite common and I still hear that. 0:10 ~ 0:12 flat, her vocal cords are barely stretching. Sooyoung relies too much on a very heady mix without having developed her chest voice muscles so when she tries to add more volume her voice, she doesn’t have the weight of her chest voice to help so her mix becomes tighter and her pitch falls flat. 1:12 Instead of I, she say Hi, she used the H which means air pressure being used to sing instead of vocal cord strength. She is flat here and there, usually when she sings a bit louder. She is just very weakly developed in terms of her vocal cords. Yes nasality is also majorly present. Thank you! I am glad you like it!

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    1. It’s a head voice placed in the mask. Try to drop your jaw more when you do this exercise and lift the soft palate, to keep the throat more open.

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  8. https://drive.google.com/open?id=0B1QYUGguxLGVLUpNaFlOMU1RRjg
    Hi ahmin! It’s me again. I hope you can give me some thoughts about my latest practice. The first file is the usual exercise #8, I feel like I start to lower my larynx at G#2 and raise it at A3, and I hear it louder than usual but I don’t know why, either it could be me being more comfortable with the room because I don’t have to lower my volume for other flatmates when practicing or because I push. My second clip I start to explore my head voice more, but I’m not sure if it’s falsetto or airy head voice or just head voice. And the last one is my practice of run, I’m kinda into Scott Hoying lately (omg he’s such a cute bear-itone who can sing) so I maybe a little bit into his agility and I want to practice riffs, but I don’t know if I’m sloppy or not, I mean I can hear the notes but it’s because I sang it so I know which note I should hit in that run. Thanks in advance!

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    1. I would say that the connection between your vocal cords is not bad, it got better. But there’s still a degree of disconnection. In the second octave you use more chest, so there’s basically no air but when you start mixing or going higher, you lose that clarity. You need to keep that connection. You’re right, G#2 is where I hear tension. I’d say you’re not keeping tongue from moving and that’s completely closing your throat and numbing the stretch of the vocal cords, so make sure the tongue is being tamed.

      2:16 Make sure the vowel is Ah and not Uh, don’t let the tongue get in the way. You’re ever so slightly letting the sound slide back and you’re losing a bit of the brightness and forwardness there. 2:50 here I hear the tongue engage even more. 3:00 here’s where there’s a bit too much air coming through. If I remember correctly, F3/F#3 was always where this issue started happening. I need you to be more mindful of this and work on strengthening the vocal cords without letting air come through. You’re not re-training a habit nor your vocal cords, you’re keeping the same habit you had before of lack of vocal cord connection. Now you sound more or less relaxed, despite slide tongue tension. Now around B3, I don’t hear a high larynx but you’re not really lifting your soft palate and then the pushing of air is becoming more apparent so again. I need you to focus more on the range starting on E3 up to C4 and how much connection your vocal cords have there because as you can clearly feel and hear, below that, that breathiness isn’t present but suddenly it creeps in. That’s a bad habit right there.

      The lack of development of your upper mix and head voice show, although your head voice is less breathy than your upper mix. I need you to focus more on a closer and tighter stretch of the vocal cords so the muscles can really be developed, because this kind of work out is a bit half-assing it and it lacks the real focus that those muscles need in order to be developed.

      For the Side to Side cover, again be mindful of your tongue. It gets in the way, especially when you try to sing R’s. Don’t over-pronounce R’s, try to make them very subtle in terms of sound. Because there’s a lack of connection, the runs also lack precision because the vocal cords aren’t working enough to sing them. There’s too much airiness, so the stretch is lazy, so the runs are lazy. So the pitch is a bit off, the rhythm isn’t smooth and well defined either.

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      1. Try to mix more, don’t try to use more chest to overcome the breathiness. It is better though. Your pitch was slightly flat on the second exercise when going for the G#4.

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  9. Hey Ahmin,

    I think I have difficulties going above Eb4 because I want to retain the fullness of my voice, which results in inconsistencies like pushing, lack of freedom, throat tension, chestiness etc… So I decided to just keep my larynx stable, my throat open above my second passagio and stop worrying about resonance. I feel like my voice is lighter now. So far, it’s easier to hit F4 compared to before but my voice is still a bit unstable and my vibrato is weird, I guess it’s because of the lack of developement of my chest muscles around this area or whatever. I just wanted to know if I improved compared to before even if my voice is still unstable, it’s considerably less pushed and tense on F4. These audios are really short:

    https://vocaroo.com/i/s0RS0NpoUJ9E

    https://vocaroo.com/i/s13t1TKJhAPs

    https://vocaroo.com/i/s0u0WjKFQcp6

    Like

    1. That does make sense and it’s not like you can’t use chest voice to sing higher and have a full sound, it’s just more productive to add the chest voice after using more of a heady approach so that you emphasize a relaxed and muscle-heavy approach, as opposed to a tense, air pressure/tension heavy approach. It is true that the sound is unstable but that’s because you lack the muscle strength for now but that will come as you develop it more and exercise your voice more. Be mindful of your tongue though, I’m not sure if it’s the sound quality but it seems to be raising in the mind and sliding back slightly. Make sure to keep the tip touching the bottom front teeth.

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      1. The first E4 is really nice, very relaxed and the tongue is a lot more tamed. There is a slight quality I hear with it being slightly tense but it’s not much and you’re fine. I hear it more on the second one when you do the descending run, but on the E4 it sounded nice. Try to start without a Ha, but instead with more cord closure. Good control, you’re really talented you know?

        Like

      2. Instead of amplificating the sound with my diaphragm and the air in the back of my throat, I raised the back of my tongue thinking it was the back of my throat lol … which caused the sound to be sharp and partially blocked. That’s also why my vibrato is kind of uneven and wide… Because my throat is less accessible I guess and my vibrato is altered by my tongue. So I tried to project the sound more naturally and I think the E4 is much better than the one I sent: https://vocaroo.com/i/s0xJrLKosCne

        Awww thank you that means a lot to me 😄 annoyed @ the fact that E4 is the end of my comfortable range, I just want to hit decent F#4s but I can’t 😠 ….. Kind of jealous of you and that Pentatonix dude tbh but hopefully, I’ll be at your level soon

        Like

      3. That was pretty good! Just make sure the tongue doesn’t raise on the last note cause of the yeah vowel. I wish I could carry that much chest up like Scott lol

        Like

    1. I wouldn’t say that he does. F4 and above, I hear quite a bit of glottal tension and tightness, especially as he gets higher. He just sounds very shallow to me, but he has very quick moments where there is a degree of being more relaxed and connected but he’s just very tight throughout.

      Like

  10. Hi I’m new around here and to singing, however I am not new to music as I have gone to music school for a couple of years.
    If you don’t want to answer it then it’s fine.
    1: Does me playing the saxophone damage my voice or does it help me produce a good air flow.
    2: everybody tells me I am a bass. I have not firmly believed it as I have not had any professional help. But everyone keeps saying my low notes are too easy sounding. So I decided to go to a piano and see how low I can sing( I did vocal warm ups as I was prompted to by my friend not wanting me to damage my voice) and I discovered my lowest note without moving my larynx( I think that’s what it’s called ) was about a D and C# on the second octave and lowest note an B on the first octave(with a lowered larynx but not fully lowered)
    Sorry for the long message.

    Like

  11. Oh I made an error. I realised that the note without lowering the larynx was a d and the other note was the the strange note between C# and D. So you can ignore the C#.

    Like

  12. Hi there!!…its been a while haha….i noticed the changes you made on the rating system, at first it felt a bit confusing but then after a while it is actually very thoughtful and I totally understand the reason behind it….anyway goodjob , Ahmin and the team!!!
    As usual i want to ask for a bit of your time to listen to my short singing , please…
    1) how are my E4,eb4 and D4? Do they sound supported or anything.
    2)if not…what may be the issues?
    3)what kind of vibrato did i produce?
    https://vocaroo.com/i/s14YbOE7CXTY

    Improving without a vocal instructor is actually very hard, haha
    I hope to receive your response, thank you.

    Like

    1. Have you been doing vocal exercises? The quality is a bit underdeveloped and shallow but not strained at all per se. There’s a bit too much air escaping through the vocal cords so they’re not being worked on with the intensity they need. I don’t hear strain per se though. Why don’t you show us how you practice next time instead? Thank you btw.

      Like

  13. Hi, Ahmin. First of all, I’d just like to say that I’m so glad you uploaded a new video on YouTube after a very long time hahaha.

    Would you say this Eb5 is supported even if some issues are present? And if there are issues, what are some of them? Is there tension as well?

    https://vocaroo.com/i/s0n2ROJrHxr9

    Thank you so much as always, and Kung Hei Fat Choy, I guess. Hehe.

    Like

    1. It’s more pushed than it isn’t. There’s good placement but you’re tightening your throat more than you need to and using more of a forceful approach instead of relaxing and allowing the vocal cords to stretch on their own. Instead of contracting the abdominal area and becoming louder, try to mix by singing lightly and slowly increasing air pressure without tension. So yes, there is tension. Oh and yes! Happy New Year!

      Like

    1. 0:18 lost tone on B2, but could’ve been on purpose. 0:38 C4’s, not bad to be honest and I’ve heard him sing up to C4 with such a relaxed approach before. 0:41 Eb4 ~ G4, all throat and this is what he usually does when he sings so I am more familiar with this kind of singing from him and I’ve never heard him not do it this high. Aside from some nasality being too focused 0:54 like here, he could’ve placed that elsewhere, he sounds very nice in the verses below C4. 1:21 Bb3, he relaxed again and all throughout the range from Eb4 to G4, it’s all in his throat. Very rough approach, arguably his style.

      Like

    1. I’m afraid I hear a quality that’s blocked by the back of the tongue tensing and the larynx being pushed down. It’s common amongst Vietnamese speakers, and I am not sure how much of it is 100% necessary for you to enunciate Vietnamese properly or how much of it could be altered for singing with more openness. Instead of singing random songs, why not tell me and show me how you practice singing with vocal exercises?

      Like

  14. Hello i hope you all are well!
    I don’t know if you all, ahmin or pandayeu, keep up with BTS much, and i’m not trying to grasp at straws, but I’ve been genuinely curious about this lately. Jimin has been saying a lot this past year or so that he really wants to become a more skilled vocalist. He’s talked about it in their Bon Vayage series and he’s mentioned it a couple times in his vlogs and some other videos. I’m genuinely curious if you all have noticed if he actually took strides to improve since he stressed so much that he wanted to?

    Like

    1. We actually meant to make a post about Jimin wanting to get lessons and us feeling his frustrations and sympathizing with him but we never really posted it. The thing is, I can’t tell you if he’s gotten an instructor or not. I am sure you would be more likely to know that than us, but I have not noticed any major improvement nor change in how he sings. If he’s gotten in instructor, I’d be curious to know what they’re doing.

      Like

    1. No, your throat is sadly not opened enough. You’re singing an Uh vowel, instead of a more opened Ah vowel. There’s far too much airiness coming through your vocal cords when transitioning up, but transitioning down is better for you. But your vowel is very small and closed and your jaw isn’t dropped. The vocal run sounds like you’re guessing the notes, as the scale going upwards, your Ah vowel is pushed and loud, it’s too wide, you’re getting louder as you get higher, your major scale is not 100% accurate and then the run down was just like you fell into it and it has to be precise. It can’t just be thrown and guessed.

      You keep sending audios and you don’t quite answer my questions. Is this the exercise you use to practice? Who told you to sing the scale like this? Have you seen any of our vocal tips for K-pop fans videos?

      I am not sure what vowel you’re trying to sing but you’re not dropping your jaw enough, you’re pushing and really loud on the first two notes G4 and F4, then you get considerably softer on E4 and below. Your vowel becomes more closed, you lock your jaw more, your throat isn’t opened, your soft palate isn’t lifted. You’re just guessing and your practice has no purpose currently. This kind of practice isn’t productive, you have to target issues. For example the shape of your throat, lifting your palate, making sure your jaw is dropped. There’s no real support throughout your range. Your throat closes more on B2 and below, and your relax more between C3 and B3 but there is no true support going on. You can’t just shout out higher notes, your singing has to have consistent control of air pressure and volume, but you sound like you have 3 or 4 different voices in different parts of your range and that means there’s a lack of evenness and that has to be addressed.

      Like

    1. Hi dear. A ballad song is a slow song, any song that’s slow is generally a ballad. Now you can have ballads that are slash genres, so you can have a power rock ballad, like I Don’t Wanna Miss A Thing by Aerosmith, or an acoustic piano ballad like Someone Like You by Adele, or an R&B ballad like Whenever You Call by Brian McKnight and Mariah Carey, or an acoustic guitar ballad like I Cried For You by Katie Melua, or a Drama ballad like…any drama ballad really. lol Or a country ballad like Amazed by Lonestar, or a more standard ballad like Stand Up For Love by Destiny’s Child.

      Like

    1. It’s a not very developed head voice and she’s using quite a bit of air. Are you sure the time stamp is 4:18? Not around 3:00, that one is also actually a bit more connected but it’s not very developed, the ooh vowel just helps her.

      Like

      1. I don’t think she opened the vowel well around 2:58 for the second video, she kind of made it wide which pulled her larynx up but otherwise she supports and resonates C#5’s, especially the phrased ones right after the sustained one. Park Hyena is a vocalist with pretty consistent belting technique as far as I’m aware.

        Like

    1. I’d rather not judge with so much reverb and a studio track. But he does have tension on the Bb4’s, he seems like he supports in general.

      Like

      1. Jade Novah? I know her. If you check our FAQ, you’ll see we don’t answer video question unrelated to K-pop vocalists. Sorry. I will only answer cause I already know her. She is a soprano and she is definitely supporting.

        Like

  15. Hi. I always hard struggle singing in the right key. I’m a baritone and everytime I sing a soprano’s song, I always sing down an octave. It’s supposed to be down an octave + 3 semitone. No matter how I try to raise my tone, it’s still be down an octave, and the one-octave down key does not describe the difficult of the original song. Like in Sohyang’s My Heart will go on performance, at the end she sustains a A4, but when I sing at the end, I always sustain a A3 or G#3 instead of a C4
    Do you have any suggest? Is it my tenique so undeveloped that I can’t sing in the baritone key now? Or Try to push out my comfort zone and try to sing in the right key to exercise the muscle?? Thanks

    Like

    1. Well of course it is hard if you’re singing it with the singer or if you’re doing it acapella. Try a program called audacity and change the pitch of the song to +3 semitones or -9semitones and then try practicing with it like that!

      Like

  16. Hi I need help with my voice type. I think I might be a bass or a baritone. Will you need an audio clip to determine my voice type and if you do what vocal exercises will help you analyze my voice?

    Like

  17. And I must say thank you for this blog you have. I have been reading this for a couple of weeks and not only have you taught me many things about the voice. You and your blog has made me believe I can start singing. So thank you for that.

    Like

  18. Hi there! Sorry for the late reply…been a hectic weekend… anyway, thanks for your time ..I appreciate it..
    Yeah you are right, I dont feel strained up to E4 normally but like you said they were kind of shallow and underdeveloped…why do think is the case?…the way i practice is mostly by singing songs while focusing on technique (tried doesn’t mean i succeeded, lol)…but as a follower of this blog i know that you really recommend vocal exercises which i did ( whenever i got the time )…..
    1) My 2 note exercise ( sorry the F4 was flat)
    https://vocaroo.com/i/s1t33CG8Lcya

    2)All of me, a few months ago ( you’ve heard of this one before)
    https://vocaroo.com/i/s1rEmQkaxUZN

    3)My recent clip a few days ago
    https://vocaroo.com/i/s14YbOE7CXTY

    Sorry for this lengthy reply, hope to receive your respond on anything.
    Thank you

    Like

    1. It’s okay, no need to apologize. I think that the main reason would be because there is a lack of development or concentration on how to develop the vocal cords with these exercises. Listening to the first exercise, you are pushing a bit of air, as you can hear with the puffs of air that escape your vocal cords when you finish each exercise. Your jaw is also not fully loose nor relaxed, you need to drop it more and relax it more. Also make sure that you are connecting the vocal cords. In these audios you’re relatively relaxed and connected, your jaw just isn’t loose enough and your pitch is a problem when doing the exercise. You are either two sharp on the first note or too flat on the second so you need to make sure you are focused more on precision in every aspect with the exercise. Doing them aimlessly is not enough.

      The older audio is a lot more connected than the recent one that’s fairly breathy. Make sure you feel the vocal cords and soft palate lift, be more focused, give attention to detail.

      Like

  19. Hi,

    I know that they are not singing live here but I was really curious about how Jungwoo did. I only want to know if he’s supporting at all.

    Thank you for your hard work and have a nice day. 🙂

    Like

    1. 1. Someone already asked and I have stated that this isn’t enough for me to reliable say much aside from he sounds like he supports probably. 2. I still don’t know who Jungwoo and nobody is telling me. LOL I only know of Taeil, Doyoung and Jaehyun. Nobody told me that they have a new main vocalist or something…lol So…yeah. LOL

      Like

    1. This isn’t the first time Somin sings Fine. She is singing it a semitone lower than Taeyeon, so she is not doing very well anywhere below Bb3 because most of it is airiness and not connection. The chorus has Bb4’s, where she has support although she’s pushing more than opening up. 0:34 She is going for C#5’s throughout those higher parts, where Taeyeon usually goes for D5’s. She is pushing a lot of chest voice up without supporting it enough, so her larynx is raising and her throat is closing slightly. Every single one of those C#5’s that I’m hearing throughout the song, she is closing her throat and pushing. 2:22 And this one was so pushed that it pulled her flat in the end.

      0:20 Bb4’s, Jiwoo is pushing a bit too much up there. 0:34 that is strained, the aye vowel is a problem though. Jiwoo isn’t a mezzo like some may think, she just pushes and places her voice low.

      Like

  20. Hi!
    I’m trying to differentiate btwn head voice and falsetto in the 2:28 mark in the video below.
    To me it sounds like Seung Yeon is using either head voice or a very solid, firm falsetto (because it still sounds airy to me), and the other lady is using falsetto?

    Liked by 1 person

  21. Hello admin! I’m sorry if this question has been brough up before but where would you estimate to place Jessi (Jessica Ho) as a vocalist? She is both a rapper and vocalist and I have always been curious about that. Also, coyld you estimate where Bolbbalgan4 stands as well. They sound really stylistic when singing but I was really curious. And thanks a lot in advance!

    Like

    1. Place her? I’m not sure what you mean by place her. I’d say she’s probably a mid-range vocalist? She is a mezzo soprano, she often sings very heavy in her throat. BolBbalgan4, the vocalist is quite stylistic as well but she supports from what I’ve heard. That’s s much as I know about her. If you are going to ask about a bunch of people, you can just put it all in one comment instead of dividing it into 3 comments. It’s more organized that way.

      Like

      1. Thank you for the response! And sorry about the division btw I felt like it would bee too messy if I included them all in one with kpop/not so I broke them. My bad.

        Liked by 1 person

  22. Sorry this isn’t kpop but where would you estimatedly place Demi Lovato, Camila Cabello and Ariana Grande as vocalists? And who would you say is relatively better ?
    And Also Zayn Malik and Justin Bieber?

    Like

      1. I’m so sorry about being unclear I meant like would you say they are good/great/average/above? And I apologize about the comparission I didn’t mean to pin anyone against another I was just genuinely confused brcause but I do understand and I’m sorry.

        Like

    1. Try checking “The Vocal Point.” They have analyses on everyone you mentioned except Justin Bieber (who doesn’t really support anyways, so you can probably guess how he’d be measured up in the old system.)

      Like

    2. if the rating here, Justin is weak vocalist (he don’t know support at all), Ari with G3/G#3~B4 is average to above average, Demi A to AA or maybe AA, i hasn’t followed her for a long time

      Like

  23. First of all I wanted to say thank you so much for running this page!
    Secondly, this was most probably asked before though I couldn’t find it in the comments (sorry) but Jennie in blackpink sings almost just as much as the vocalist and far more than she raps and I like how she sounds but that’s mostly because I like her voice so I was wondering if she actually had any proper technique vocal wise? And is she weaker than the other 2 vocalists Rose and Jisoo?

    Like

    1. Jennie is a very shouty vocalist, she rarely uses proper support and she kind of half-talks in the way she sings legato-wise. She has a much more natural approach and placement than Jisoo, but Rose seems to use a less shouty and less tense approach when she sings.

      Liked by 1 person

    1. Jimin doesn’t have a consistently established supported range and using a vocal range video to determine it isn’t quite the best method.

      Like

    1. He did mention of Fools by Troye Sivan and All Of Me, the same key as Chanyeol (Dm). Any slow songs that doesn’t go too much higher than F4 I think.

      Like

  24. For phrases like 내마음 or 나만 where there are many ㅁ and ㄴ consonant sounds, is there a way to prevent nasality since the pronunciation is inherently nasal? Or is everyone always slightly nasal on those sounds?

    Like

    1. Those are nasal consonants. There is a difference between being basal because your soft palate is lowered and “nasal” because of the consonants. So yeah those sounds are always going to buzz around the nose, but they are supposed to so it’s no big deal.

      Like

  25. Doesn’t lifting the soft palate prevent the air to flow throw the nose?
    Doesn’t it prevent it to flow into the nasal cavity? (where the mix is placed…)

    Like

  26. Could you do a brief analysis on how nct’s jaehyun performed in this duet?

    nct doesn’t put much focus on ballad songs + jaehyun is a baritone
    so it’s a bit hard too find good materials
    if there’re other better one you’ve heard before please recommend
    thank you!

    Like

    1. So right off the bat I notice that he is slightly nasal. He’s not completely projecting or “singing” through his nose, but there is a slight nasal quality to his singing especially when he goes for the higher notes. I also notice that he’s not opening enough for the higher notes, so the higher notes are not as open as they should be. I can tell this because he’s not really dropping his jaw enough, nor is he really forming his vowels correctly to really get that open sound. That being said, he’s not straining on these high notes really he’s just tense. I can’t tell you what notes they are because I am listening to this in a public place and therefore don’t really have access to a piano. I also noticed that he sings like a Baritone, he’s not trying to make is tone overly light or try to singing like a tenor would and I like that. I could have been easy for him to sing something where he is basically screaming the whole time, but nope. Anyway, he has a pretty OK foundation he’s not amazing, but he’s not like bad either. I really like his tone.

      Like

  27. Hey, how was their performance here?
    From left to right: Jun, Feeldog, Chan, Euijin, Kijoong, Hansol

    4/6 are dancers or rappers and Kijoong is going through puberty so he’s having some issues with the voice change, that leaves us with only one vocal (Chan) lol. Jun is straining a lot, though, hopefully he gets more vocal lessons.

    Thank you!

    Like

      1. sorry, i had to send my clip in the chat box instead of the website box as it seems to glitch when I do the previously mentioned. I wanted to ask if you could analyse my 3 examples of me singing a short part of “reflection”. i also wanted to ask why i have so much ease at E4 for a baritone

        Like

      2. although in the clip i think i only hit 1 E4 and its flat as hell XD(or at least i think its flat), because it was really cold and i was shivering uwu(which is why my voice is very wobbly)

        Like

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