About & Our Criteria

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Vocal Analyses



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.


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.


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.

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.

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.

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

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

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 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.

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.

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.


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.


Ahmin & Pandayeu




10,879 thoughts on “About & Our Criteria

  1. Hi Ahmin and pandayeu! Hope you’re doing well!
    Recently I’ve found out that Ha Hyun Woo released a single a while ago (which I really like)…but being an avid reader of this blog made me curious about his technique… So I’m sorry to bother you, I’m going to ask specifically about his approach on his live performance of ‘Home’ (https://youtu.be/eoOGHvsFobs?t=217). I think he mixed multiple B4s – D5s from there onward and sounded nice, but did he support them?

    Looking forward for your new analyses! 🙂


      1. shit sorry that was not me my friend was playing around with my accouhnt:( you actually have a beautiful voice 😮


  2. Hi, Ahmin. Can you comment about my vocal? I already asked in here but no one reply my question.

    0:27~0:50, 1:08~1:21, 1:51~2:03, 2:16~2:28, 2:39~2:51, 3:01~3:19 thats my part.

    I hope one of admin this blog reply this question. Thank you.


    1. Hey not admin but i think i hear a lot of tension (maybe around the jaw or shoulders?) and there isn’t much (if any) support. 호흡이 쭉쭉 뻗어 나오게 힘 빼고 노래 부르는 것부터 연습하시는 게 좋을 듯 하네요^^


      1. 저분이 한국말 할 수 있는지 없는지 잘 모르겠지만 그렇게 답장해주셔서 감사합니다.~


      2. 한국어로 노래하시길래 한국말 하실줄 알았죠 ㅎㅎ I don’t know why I posted the comment twice tho oops-_-


    2. hey not admin but i think that there is a bit of tension when you sing (around the jaw or shoulders?) and there isn’t much support either. Try to breathe into your diaphragm and not into your chest 소리를 쭉쭉 내면서 힘 빼는 연습을 하면 좋을 것 같네요^^~


    3. I’m going to have to first start off by saying I usually discourage students to sing songs in a language they’re not fluent in. If you’re not fluent, it will only make it harder for you to figure out proper diction for the language as a beginner. I think the main thing I’m to say is that I agree with Daniel, there’s quite a bit of tension. The sound is currently locked up in your throat and chest, you’re not opening up the back of the throat, not allowing the sound to travel upwards so a lot of notes are flat. You’re not really allowing the voice to mix and instead pulling chest voice from your throat and hoping to reach the notes that way. My recommendation, as it is for anyone who’s starting out, is to watch vocal tips for k-pop fans #8 and watch attentively.


  3. Hello admin.
    This is kind of a request.
    Can you watch this video and see if Shinhwa’s Kim Dongwan vocal technique is good for him long term?
    I love him dearly and sometimes he sounds really strained.
    I am worried that he would hurt his vocal cords in the future. He’s 40 this year and I want him to continue for longer 😢


    1. I’m afraid he isn’t a vocalist that is known for having developed proper healthy support at all from what I know. He sings mostly from his throat, most of the time. The quality is mostly shallow.


      1. Thank you for your time and opinion 😁
        I just want to ask if he sings from throat, will it affect his vocals overall in the future. I kinda like his voice even more than most of the better vocalists, must be a preference of music choice.
        Shinhwa is not known for greatest idol vocalist but they try to sing live well and at the same time Worry us about their vocals since most of them still smoke, except Kim Dongwan.


      2. It’s alright to prefer his voice. I honestly can’t be sure but if he keeps singing like he does, there’s a good chance he won’t have as wide of a range as time passes.

        Liked by 1 person

  4. i’ve been here since, i think, 2017 but this is my first comment slkhfsldh

    i’m kinda sad you stopped your vocal tips series. i started voice lessons this february; i’m paranoid the instructor i’m seeing might be teaching me bad habits. i’m only on my 3rd session though so i may be rushing it. i’m being taught to “lower”/drop my shoulders when i go for lower notes and i’m pretty sure i read on this blog that none of the body should move besides the necessary muscles for singing.


    1. Oh hi there! Well if you have any doubts or concerns you can always ask! Don’t worry too much, it might simply be that your instructor is trying to encourage you not to raise your shoulders, so doing the reverse to kind of do a mind trick on your current habits. We have a lot of mind games we do to get ourselves out of our heads for singing.


  5. Nihao. Do you think this song (released 2 months ago) shows Sooyoung, as a non-lead vocalist, is improving vocally? How is the high note in 2:45? Does it carry support?


    1. Someone asked about it, but no I wouldn’t say she’s improving. She’s singing more or less how she’s always sung. Kind of shallow, kind of pushed, not really using the diaphragm, not really opening up her throat, relaxing her muscles and letting the vocal cords do the work. That 2:45 note isn’t even “a high note” because it’s only A4. And it’s not relaxed/supported fully.


  6. Hi Admin, I know you mainly only analyze K-pop singers but I was wondering if you could do a quick analysis on Chinese singer Hua Chenyu it would mean a lot.I feel like he has an amazing voice but I can’t seem to find a vocal analysis of him anywhere. Again I apologize but I literally don’t know who else I could ask.
    Here’s a vocal range video that someone else put together:

    And here is the playlist where they took all the live performances from the performances are time stamped: https://www.youtube.com/watch?v=tb2NMFnbfoY&t=2217s

    I think he would fall under the tenor range and is at least an above average vocalist but I’m not sure and I would love to have your professional opinion.

    Thank you so much.


      1. Thank you for replying. I apologize if offended you or anything that was not my intention. I just though there was no harm in trying to ask. Again I’m sorry and thank you for your reply.


      2. Maybe one day you will broaden the analysis’s and expand to Asian singers and not just kpop (we can hope right? lol) I just thought it was worth a shot because I saw that you did a quick analysis of G.E.M. a couple years back and Hua Chenyu is often compared/paired up with her because of their wide vocal ranges. But I don’t like her singing very much but I love his and I can’t quite pinpiont why. Sorry just rambling now. Thank you so much for your time.

        Liked by 1 person

      3. No problem I understand you’re busy 🙂 I just thought I would try. Thank you for all that you do for the kpop community. If you ever get less busy I hope you’ll consider expanding the analysis criteria to include Asian singers or at the very least go back to to “kind of” answering these types of questions 🙂 Thanks for putting up with all my rambling.

        Liked by 1 person

  7. Hi
    Can I request a question about the vocal type of a non-KPop singer??
    He’s from Myanmar and I like his voice.
    But I cannot say exactly what his vocal type is called.
    Someone say he’s baritone and the other one says he’s a tenor.
    And I found it confusing when I search about it in Wiki and some of the sites.
    The singer’s name is Aung Htet and he is said to have no vocal training at all. Just a struggling security from a bank trying to compete in a nation singing competition (he won btw. And have released two albums with almost all songs composed by himself)

    Thank you 😊😊


    1. Hello. Since this is a quick enough assessment, I’ll be brief. In the future, please do not ask about non-kpop vocalists as this isn’t a non-kpop vocalist blog and we don’t have the time. He sounds like a shallow tenor to me from one video I watched, I could be wrong though. He is pushed really hard on notes I wouldn’t expect a tenor to be mixing as hard as he is yet, but he doesn’t have much of a lower range even for a tenor and he mixes fairly high too naturally for such an untrained technical approach. I’d need more videos but this isn’t k-pop, so I need to move on. Take it with a grain of salt.


  8. I posted this a few weeks ago, but never got any response ㅠㅠ. I was curious about Haseul in this clip. She used to train as an opera/classical singer before joining LOONA, and she showcased her head voice! I was curious as to whether or not her head voice is resonant, and if not, at least supported. It’s quite a contrast to her slightly airy style, so it surprised me. Thanks in advance if any of the admins have the chance to respond! https://twitter.com/agustseul/status/1043971563928911872?s=19


    1. Sorry, I don’t remember seeing this. It sounded better than I expected but there’s a degree of pushing? Since we aren’t a classical technique blog, my ears for classical singing aren’t the most advanced and so I could be wrong, but I’d say I hear support.


  9. Hi! I’m not Ahmin. So I answer this question as far as I know. I’m still learning 🙂 so I could be wrong. Not every notes that we hit or sustained can be resonant. Based from my personal experience for example as I went lower in my head voice I started notice that my voice started loses some of that ringing quality. It’s still supported and connected but my voice sounded it can’t take off that low. So yes, as you go higher your voice will start blossom and in some areas it will sound the best or having the best rings. That’s why a Soprano sings an A4 will sound different from a Mezzo sings an A4. Because Mezzo voice is lower than Soprano, Mezzo voice will take off easily on that A4. Her voice will blossom earlier. While Soprano will have the best rings on Eb5 or E5 upward like Son SeungYeon. For low notes, I don’t really know but I think you could have chest resonance in it.


    1. This isn’t a good example for me to be sure, I hear pushing at 0:52 but some degree of maybe support and I hear a shallowness at 1:24 but overall there are too many layered vocals and I’d rather isolate their singing alone.


      1. I thought both of them has some shallow breath support tho. Can i ask if YuQi was a mezzo? or she was just very chesty soprano?

        with Miyeon i thought she was very throaty-based, right?


    1. I think openness shouldn’t be your concern. The lack of consistent airflow is more of an issue for you. You are fine in terms of openness despite some vowels being a bit too closed, like Oh and I hear some tongue tension. But the biggest issue I’m hearing is your lack of airflow, so your vibrato is WAY too present, but it’s not controlled at all. It’s wobbly and every note seems to be overly emphasized, so there’s a lack of a smooth vibrato. Instead you’re kind of staccato-ing everything. There’s too much air pushing through the vocal cords.


  10. Hi ahmin, came upon Lee Hyuk’s cover of Don’t Cry in his own Youtube channel.
    At 3:53, was that peaked B5 mixed?

    And at both the choruses 1:44 and 3:37 he hits F5s and G5s repeatedly. How did he do here and was his approach good especially for a male?
    Was really impressed with a male projecting so well up that high.


  11. Hi! Would you mind taking a look at these videos of Day6? I’m really curious about your opinions on them. How do you think they did, what would you say about their tecniques?

    Also the member who is singing here is Young K (the bassist). To me he seems like a baritone. However in these videos he belts a lot, so I’m not very sure if they will be helpful in terms of deciding his voice type.


    1. Hey there, not an admin, but from what Ahmin has said up until now (in this comment section and the one for the Future Analyses), all of DAY6′ members who sing regularly are tenors. Young K has a very heady mix, whereas Wonpil mostly goes for a nasal tone and Sungjin prefers to go for a throaty tone instead of keeping his sound clean and open. For Jae, I’m not sure, but what I’m sure about is that Jae and Sungjin have the clearest sense of support in DAY6. However, all members lose support anywhere above F4/F#4.


  12. Hi! idk if he’s been asked about yet, but I would like to know how well ONF’s Hyojin supports? In this video, he sings at 0:38-0:56 (G4s, one phrased G#4), 1:25-1:35 (phrased F4s in the second part of his lines), 2:04-2:12 (G4s again), 2:27-2:40 (Bb4s, sounded strained so I don’t really care about the notes above that lol). Does he support any of his F4s/G4s? They sounded not bad to me, but I think his throat could be more open and the notes sounded pushed to an extent? I’m sorry if he’s bad to hear under that voice layering in the chorus.
    Oh and fun fact; he’s from WM, Oh My Girl’s and B1A4’s label, so… might expect much since has seniors like Sandeul and Seunghee xdd


    1. Hi there, I’m not an admin but Ahmin commented last year on a similar fancam that got deleted:

      “Oh wow I love this song and I’ve never heard it with korean lyrics added in! Interesting. Jisoo has not shown that she’s able to support her voice at all anywhere in her range yet, so the beginning is placed in the back of her throat and it’s shallow, anything from 0:27 is very pushed, very tense, very strained and closed in her throat.”

      The time stamp equals ~0:36, I think?

      Also, quoting Ahmin again: “Jennie is a lot less closed and tense. Jisoo has tension even on G4/G#4 and has a very shallow approach with lots of throatiness.”

      Hope I could help a little 🙂


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  14. Hi Ahmin, hope you’re doing well!
    This is a non-kpop vocal related question but something I haven’t been able to find an answer for at all. Would you happen to know if Danny Elfman is a tenor or a baritone? And do you know if the song “Jack’s Lament” from The Nightmare Before Christmas (or Jack’s roll as a whole) is written more for a tenor or a baritone?

    I feel like the second question might seem redundant, but I’m asking because I know Danny Elfman has a really crazy extensive range so I feel like he’d have the ability to sing songs for either fach. The reason I’m asking is because I feel really comfortable singing in the original key of Jack’s Lament and I don’t really know what my voice type is… If you don’t know The Nightmare Before Christmas this question is gonna really be a dud LOL.


  15. Hi Ahmin! So I have this question: is it possible that a singer can come up with a run when singing it separately, but when they put it into the song they can not focus on the run and it just go messy all over the place? I know it’s a mental thing but then it’s so hard to get rid of the non-physical tension whenever I tried to do runs and riffs even when I know exactly which sequence of notes I want to hit and I can do it separately from the song but when I was singing in general I just chickened out 😦


  16. Hey, Ahmin! I just wanted to know how I did here because I sang lower than my usually comfortable range. Sorry for messing up the lyrics tho, it was hard to sing and read at the same time haha.


  17. hey ahmin did you check out jung dongha’s latest performance? I feel like his approach to c5 has slightly improved

    like the brief c5 at 4:15


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