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 A5
Mezzo-Sopranos: Up to at least C5 up to G5
Tenors: Up to at least A4 up to E5
Baritones: Up to at least F4 up to C5

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 Bb5
Mezzo-Sopranos: Starting around G#5
Tenors: Starting around F5
Baritones: Starting around C#5

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



11,135 thoughts on “About & Our Criteria

  1. Hey! is there a page here that describes the qualifications for each vocal level? (For example, an average vocalist must have an octave of support yada yada) I hope there is one and if there isn’t can you maybe explain it to me?


    1. Hey there, kind of late and I’m not an admin of this page. They removed the ranking system (average, above average, etc.) some time ago due to increasing tension and dislike that led to a lot of arguments using this page as “proof”, so to stop those type of things from propagating they abolished that type of system and instead implemented the usage of the current categories (Commercial, High Belter, etc.)


    1. this is a result of purely focusing on the terms “support” and “strain” without considering that they may coexist, and not highlighting the specific techniques that a singer was using. Honestly, Arianas attempt was actually not that bad (at least compared to some other singers that I have heard). You can hear it better in this video around 3:51 https://www.youtube.com/watch?v=u7k1UyWZMgg&ab_channel=OfficialGrandeVideos Because I am not familiar with Ariana’s singing style at all it will be quite foolish for me to comment on her singing capabilities based on just that one video. However, she seems to be very heady in the fifth octave (although sohyang is too in the upper 5th octave) and does not over open her mouth possibly thanks to her headiness. Her tongue seems to be constricting her openness sometimes although that may be due to stylistic choices and she seems to get yelly (especially as she sustains). Saying that her Bb5’s have the same qualities as sohyangs is very very questionable but I think that the video is pointing out that sometimes, there really is not much difference between “support” and “strain”. And yes, although you can get singers like Kim Jang Hoon who genuinely just strains all the time, in most cases, a singer who strains could easily support by changing their vowels a little, or bringing their placement more forward, or whatever. About the high larynx part, of course the larynx is going to rise its a Bb5!


  2. I need help on my head voice if you would be so kind to try and help I would very much appreciate that, so sometimes I just can’t get my head voice out or even a falsetto and I don’t use much air but I have to push really hard and I don’t know how to get past it.(also how can I have more ease going higher without getting too overly loud, I get super loud around C#5)


    1. kinda late but there is a couple things u can do to to find it, first thing id would suggest is to learn how a mixed voice sound differs from the chest voice, the way id do this its to check out the singers ahmin already analyzed, check out their voice type, and then go to the passagi section here on the main page to see what passagi such voice type has, then go and listen to that person sing, and pay attention at how they sound when singing on their chest voice, and how they sound when singing on their mixed voice, in order to do this, since im guessing u cant identify the notes by hearing them or by using a piano, i would use a tuner, u sing and it tells u which note u are singing, u can sing the song using falseto to see which notes are sung in it, and when to look for the singers mixed voice and when to look for chest voice, this way u’ll learn the difference between them, and next time u are wondering a singers passagi, u can listen and try to figure in which note they switch to a mixed voice, this will be their passagi. The tuner i use is this one https://www.flutetunes.com/tuner/, its meant for a flute but it works just fine with a voice as well


      1. No problem, I’m late too lol. I’m just now seeing your response. I didn’t even know anyone had replied to my question. Thank you for the response and the link! I will definitely make sure to practice this so that I’m able to hear the differences 🙂


  3. Please start your analysis again there are soo many idols who show potential but we are no professionals who can tell if they’re good or not


  4. hi ahmin may i ask a question abt rose’s vocal technique. im very into bp these days and im curious abt rose’s supported range? up to which note can she support?


  5. Hello Ahmin
    Just wanted to humbly ask what you think of my vocals?

    Could you please answer back via e-mail because I’m a little shy on here,



  6. not a vocal expert like you but I think the new sm gg aespa is worth paying attention to… to me they sound like the most interesting girl group vocally in this generation.. I might be wrong but I think at least 2 of the girls can support (if not 3). I know you aint really answering questions anymore but since sm is known for their vocals I hope you could tell me if Im right about those girls…


    1. From what I’ve gathered from what people have posted/asked on Wendy’s and Seulgi’s analyses, both Ningning and Winter have well developed support: Ningning up to Bb4/B4 and Winter up to A4/Bb4. No one has really commented on Giselle and Karina but my take is that they do show support, but less developed and consistent (like RV’s Joy, maybe). Take this with a grain of salt but it seems right, hope I helped 🙂


      1. Ik you made your comment on the aespa girls from the limited materials available back then but I’ll reply anyway bc why not. Not a vocal expert but Ningning actually supports up to C5 (not B4). She has some nice C#5s as well but SM doesn’t let them sing so we still can’t say. Her range is thought to be G3-C5 for now. Winter up to B4. She does B4s quite a lot and they’re never unsupported. Forever has some B4s from Winter.

        Karina and Giselle both support as well. Karina has 1/2 live Bb4s that was supported but again, bc they never sing, it’s hard to tell. Karina is much better than Joy, closer to (and I’ve heard better than) Nayeon and Rosè. Giselle is comparable to Joy tho, she has some supported A4s in the mini album. You probably know all this already since it’s been months since your comment, but I thought I’d reply anyway.

        I should probably post the links too but since the girls never sing live, there aren’t compilations made.
        Here’s Karina’s Bb4 tho: https://youtu.be/ryPf4bpoo28
        Winter’s B4s are in here:

        Ningning’s C5s:

        ^ignore the headvoice section here.


  7. Can any of the admins of this website tell me why none of my comments under hyolyns analysis ever get posted??? I see other people normally writing comments under other artists analysis but the questions i sent for hyolyns analysis never get published. It’s been like this for over a month. I see comments under other idols being sent regularly, why it doesnt work for hyolyns analysis only???Someone explain pls???


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    1. No, Haechan hardly supports and much less an A4, such a high note for a male. He has a beautiful voice though, which is where he shines best imo.


  9. What is the appeal of pushing a lot of Chest resonance in the mixed voice? I am just curious why people bring so much chest to the mixed.


    1. I’m not admin but adding chest brings more power to the voice, and people likes to hear the “powerhouse” quality in pop/dance, especially when pop songs are usually built to hit the climax at some point. Another reason is in modern singing, singers usually start with their mid-range-ish chest voice first before training their head voice and mixed voice, and singers (or even their vocal coaches) want to rush and skip the head voice training, which leads to them bringing the habit of using chest voice to higher register.


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  11. Sorry I know this isn’t kpop but the video is already linked at the timestamp that I want to ask about and it’s a short question. Are this singer’s belts supported and is there any resonance? One at 4:47 and the other at 4:59.


  12. Hey Ahmin, not related to any specific vocal analysis but did you ever stumble across that kpopalypse blog?

    The “V Files” series seems to dedicate *a lot* of time and passion to seemingly discredit the idea of vocal analysis in general, even live performances. Articles such as these two even mention you specifically: https://kpopalypse.com/2018/09/12/kpopalypse-presents-the-v-files-episode-6-stability/and https://kpopalypse.com/2017/03/01/kpopalypse-presents-the-v-files-1-resonance/

    What do you think of the arguments that he puts forth?


    1. I’d rather not really care about what some random person writers on their personal blog from 4 years ago. I’ve moved on with life not to care about people like this.


  13. Hi Ahmin I was wondering if you still reply to clips of us singing ? I wanted feedback for my singing …

    thanks on advance.


  14. Can i know what hui and jinho from pentagon vocal range? As i know they are tenors and jinho vocal range is f#2-Bb5/(C6). I saw it somewhere


  15. Hello this might be a bit of a stupid question but I’m really curious… Is it possible to learn how to recognize support if I don’t have a trained ear or like a really good ear for music? if so do you have any tips? I would be grateful


  16. Here is a singer you guys may not have heard of. His name is Park Jae Jung, and won superstar k a couple of years ago. Although being naturally a baritone, he is able to phrase and sustain A’s and Bb’s relatively easily (he once even sang to c#5). It is very interesting to see compromises baritones have to make to sing higher


  17. Hi there 🙂
    So I just listened to (G)I-dle Yuqi’ Bonnie & Clyde and I was surprised with how easily she was singing that low. Is she possibly a mezzo? Or just a lower soprano?
    Thnx in advance!


    1. Not Matheus, but I have a feeling that she could be a mezzo. She sang down to that C3 a little too easily haha


  18. Your vocal analyses are really interesting, but I can’t help but feel that you are really condescending. I mean, who are you? You aren’t even an established vocal trainer, but the way you talk about these celebrities just reek of snobbery.


    1. Ahmin is a vocal instructor, lol.

      I don’t exactly get your point though, if you find the analysis interesting and you have nothing to ask or say about it than whats your point ?

      Liked by 1 person

      1. That person is probably bored and just came here to be rude or start a fight or something no need to pay them attention..

        Liked by 1 person

  19. Hi Ahmin!

    I just watched Waikiki and just found out that the lead actor, Kim Jung Hyun actually sings. I’m just curious about what you think about his vocal skills. Here’s his video singing a cover: https://youtu.be/JFzHvop5gVk

    He’s not a professional singer for sure. But would you be so kind as to giving feedback on how he did in this cover? With my untrained ear, I think he’s more than decent. Correct me if I’m wrong tho. Would greatly appreciate hearing your words! Have a nice day! 🙂


    1. Not ahmin here
      he is not utilizing much of his nasal resonance. A lot of the sound is escaping out of the mouth, which makes him sound flat, even if the pitch itself is correct. There is not much tension from the diaphragm, and so he ends up being yelly on the f4, although it’s not a very high note. He lso does not know how to sing legato (which is an amateur characteristic). The best example is at 1:05; when he goes down to the low g, the placement of his sound changes, making it sound much lower than it really is. Overall, I would not say he is a bad singer at all, but he does sound amateur


  20. I have 2 questions:
    1. what do you think about E Hyuk ( was Lee Hyuk from Norazo) ? is his techniques good? does he supports his voice well?
    2. Can we sound edge and open, supported and resonance at the same time?


    1. Hey, I am not ahmin, but i will say that you are not a “baritone”. Calling yourself a baritone will confine you in your chest range, and make you think that you will not be able to sing high. I speak from personal experience, because I am born with a much lower voice than other males, so i used to think that i could only physically sing up to about an a or a g, which turned out to be not true.

      Back to your case, I think that you lack support, and a lot of it. A good way to develop a proper feeling for breath support is to breathe in around 80% of your lung capacity, and just let the air out, like a balloon. Do not force the air out. If you are completely relaxed, that is more or less how proper breath support should feel (when you are first developing it anyways).

      Secondly, I will say that if you continue to sing like that, you will not discover mixed voice. I think this will apply to anyone that reads this: mix voice is a lot closer to falsetto/head voice than you think. This does NOT mean you sing in the masked position while in head voice. (I have seen students misunderstand what that means, and develop a weird half falsetto technique that does not work.)

      Good luck on your journey


  21. 🖐️Hello Ahmin I’ve been following this website for 2 years its really helpful, Thanks for you hard work.
    I know it’s a silly question, but I really can’t help but wonder. https://onehallyu.com/topic/552-official-vocals-thread-read-op-first/?do=findComment&comment=31113786 There are people on this website saying that Jaehyun is Tenor who is disguising himself as a baritone and they even used a sample of your performance to show that Jaehyun is Tenor so I can’t help but wonder.
    I’ve been following Nct for 3 years, I’m familiar with them, to me he looks like a baritone but there are some things I wonder about him like lowe range he’s naturally weaker than baritone and he sings F4-A4 notes He doesn’t look too difficult but when he sings or speaks he sounds lower than the other tenors in the group. I hope this comment gets a response from you or anyone who can tell me.
    I’ll paste the video link for anyone unfamiliar with his voice.


      1. 2.24 G4s

        He can hold the G4 for a long time without much effort, I’ve noticed many times he hardly puts any effort in the G4. So it looks taller than a normal baritone but lower than his bandmates.


    1. of course seunggi “supports”. A large majority (if not all) of professional singers support in some form or the other


  22. Hi Matheus, I have something to ask. Could you give me examples of contemporary vocal types? I used to know soprano, tenor, mezzo, and baritone as the most common types. Later, you tagged Hwanhee as a low-tenor. Is there another lower type just like low-tenor? Maybe low-soprano or low-baritone? Overall, how many types we can use in pop music (contemporary)? And where are the low-tenor and another ‘low’ type passagio falls? Thank you!


    1. Contemporary voice types aren’t really a thing. I just use the term low tenor because for a non-classically trained singer, it’s hard to tell unless they’re trained classically. It just means they’re not a lyric and could be anything from a dramatic to a spinto. There are such voice types for sopranos as well and baritones who are lower are called verdi baritones. There are many voice types but these are all classical terms and thus we don’t use them nor need them as much in contemporary singing. For contemporary singing, voice types help you find the right and most comfortable key for your voice and tessitura. But you can do that just by trying out a few keys and choosing what suits you best, knowing your voice type is a bonus that helps and guides you but it isn’t a must. Knowing you’re a tenor, a lower tenor, a baritone. That’s enough information. Without proper classical training, it becomes hard to be sure.


  23. Hello admin. I want to ask you a question. Which one is technically a better vocalist? Minji from secret number or Karina from aespa? Further info would be appreciated. Thank you so much


  24. Hi, Ahmin and the team.
    I have something that I’d like to ask.
    Is it possible for baritone to have a very light and bright voice, like lighter than Junho or Roy Kim. Sings relatively with ease from g#2 up till E4/F4, some tension starts creeping only starting from F#4. Is it possible for that person to be a low tenor instead of baritone, cos the tone is so light quite peculiar for a baritone.


    1. I would have to hear them but the explanation you’re giving aside from sounding lighter than Junho, sounds like a baritone to me.


  25. Okay , thank you. Well, its me, i know im a baritone, and proud of it 🙂 just that my friends find my voice too light.
    You’ve heard me before.
    Can you have a super quick listen to my singing? A very short one.
    Im curious am I supporting well as you mentioned before, my placement/support/resonance?
    And am I using a heady or balanced mix?


    Thank you, so much.


  26. Hi Ahmin, I’m training my ears to differentiate lyric tenor to lower tenor. The sample is Jaehyun from NCT, but it confused me. He sounds so full and masculine to be a lyric tenor, is he a lower tenor (spesifically spinto). Do you have any opinion to help me? Thanks, btw your blog remains legendary.


  27. Hello !

    From what i had read it seem that Giselle from aespa showed some sens of support even it still inconsistent compared to others aespa members, what do you think about that ?Currently she doesn’t showed yet her all range and there are a lack of vocal material but despite that, if she indeed showed sens of support, can we consider that her technique is more developped than a vocalist who showed more vocal but who don’t support ?


  28. Hey ahmin, i asked this before but i forgot the answer sorryx.x, i was wondering around where the bass passagi is, i read in wikipedia that its A#3 for lyric baritone and G3 for basso profundo”, would you agree?


  29. Just a question about Taka, the main vocalist of One Ok Rock. I guess his supported range is up to G4/G#4 based on this video. Am I correct?


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