About & Our Criteria

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Vocal Analyses

 

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This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.

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This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.

TERMINOLOGY

Tones/Semitones/Notes/Key
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Intonation
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

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 maye still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present.

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 Hyorin, is able to keep resonance consistently up until E5 or F5, 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 F#3/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).

Legato/Staccato
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Agility
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.

 

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males falsetto must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Ability to do agile runs at decent speeds
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

 

Great 

  • Developed registers, but one register may be lacking in development.
  • Optimal resonance is achieved on a regular basis.
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Supported is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and G4/G#4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Competent 

  • One well developed or two/three somewhat developed register well balanced
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

Terrible

  • No support, not a vocalist basically

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey and Whitney Houston as amazing/fantastic). They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

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425 thoughts on “About & Our Criteria

  1. Haha, I’m just a little bit shy.. I don’t know, maybe because I am just a beginner when it comes to singing.. When there’s time, I’ll try to record myself. I don’t feel doing it right now because my voice is already tired. Anyways, thank you for the information!

    • You sound like a baritone! I dont know alot about vocals but you sound like one..like your voice sounds like it isnt comfortable where tenors are and you seem really shouty and nasally :/ no offence

    • Oh dear, I forgot to look at this later as I had told myself lol I believe I agre with Sarah, I think you’re a baritone and when you’re a beginner, I think singing Mariah is very hard! Try singing something less vocally challenging next time~ ^ ^

      • Jiyoung seemed to have some really low notes in his solo, he went like down to F#2 and it wasn’t bad and his voice, if not lip synched, he seems to have control of pitch and his voice… it’s quite nice what he does… CNU on the duet, he sounded like he lost control of his voice quite often, he was pitchy and went flat a bit often… like at the end of his lines, he seemed to go flat.. and straining but that’s beyond the point, pitch is a more primary thing
        Gongchan was pretty weak vocally, CNU is not up to par at all, he doesn’t support his voice, his voice is a bit too airy and shallow sounding, Jiyoung is okay, seems like an average vocalist, or maybe a bit better but not Above Average, at least not from this… CNU Idk but barely even average.. I guess kinda Average or weak to average…and omg Sandeul <3 Im falling in love with the baby who sings like he's a man lol

      • Thanks! That’s basically what i thought about them too (yay i think i’m getting better at hearing different things, but i’m still not confident to really trust my own ears xD). Jinyoung is nasal and sounds thin and tense sometimes when he’s going higher, but he has decent control over his voice and pitch. It might not be anything impressive vocally, but he knows what he can do and he delivers what he should, and he attempts changing notes and adding adlibs the most in the group. I think it’s live but with backtrack, 100% live would be better but he doesn’t have many solo performances to choose from…
        Yeah, i didn’t even bother asking about Gongchan because i was pretty sure he’s weak, i’m happy as long as he doesn’t whisper and stays in tune lol (it’s a shame on such a lovely voice tho).
        CNU is confusing to me. Sometimes he doesn’t sound bad at all (like his duet with Sandeul on IS2), but other times his singing sounds… sloppy tbh. Shouty, pitchy, and his voice can suddenly choke off so the note barely comes out at all… like dude, just focus on hitting the right note at the right time, effects and adlibs can come later. But i think i’ve gotten used to it, because i know i used to find it much more annoying but now i kinda enjoy his singing style, maybe it’s like with food (if you eat something enough times you’ll eventually start liking it haha).

        Sandeul’s a big fluffy lovable ball of happiness and joy for singing lol

      • Gongchan is cute tho~ Baro seems to have a charm right? I don’t like his nose LOL but for some reason, even with his voice that’s a bit too …yknow….heavy, he has something that’s attractive about him? lol Yeah Idk but it’s how people deal with alcohol, just drink it until you kinda enjoy it even if you don’t really lol never will be me, no alcohol tnx. lol Jiyoung yeah, he’s also a very good definition of an average vocalist, nice pitch in control in a limited range, full of many other inabilities.
        Thanks for the cute video <3 lol It was really fun to watch lol

      • Oh yes he’s adorable, and personally i love his voice, and his parts are simple enough that he sounds fine in studio and usually live too (and when he doesn’t, it’s actually more often his confidence than fails him than his lack of skills i think). Baro is… it’s hard to put your finger on it, but he really does have something. He’s a very expressive performer and a great entertainer, he knows how to interact with his audience. He’s quite contradictory, isn’t he; deep voice and being the badass, bloodtype B, tough rapper, vs his boyish face and being the sensitive squirrel princess who likes reading and reflecting about life and is afraid of heights, the dark, bugs and chickens… lol and he knows that and how to play with it, he acts cocky on purpose to make a joke of himself and that’s a big part in what makes him so likable i think, people who can laugh at themselves are often the best kind of people. Maybe that’s looking too far into it lol, but he has an attractive aura of confidence combined with self-distance.
        Haha that’s true, well at least listening to someone sing off pitch won’t give me liver damage or have me make questionable decisions tho xD
        Oh btw, Sandeul has a new musical coming up in december, he’ll play Elvis in All Shook Up.

      • afraid of chickens lol #dead jonghyun does the acting cocky thing but he fails. Ohhhh omg that sounds so awesome!! I look forward to Sandeul’s singing!

  2. who’s the best between Park Hyo Shin,Naul, Kim Bum Soo, The One, Kim Tae Woo, Lee Soo from MC the Max? and how would they be ordered in terms of skill?

    • Not familiar with Lee Soo, I can say Park Hyo Shin and Naul are better than Kim Bum Soo and Kim Tae Woo, I believe. The One might be as good, I can’t say because I’m not familiar with them all.

  3. Hello! What can you say about Shanice Wilson here?

    https://m.youtube.com/watch?v=E_sz3wAvu1I

    An STAN keeps on saying that this version is better than the original, and that she’s better than everyone else in the game (even Mariah and Whitney). I disagreed with him on the fact that Shanice’s singing here has so much constriction, she’s pulling her larynx and she’s nasal, based on what I’ve heard. Thanks in advance for your response!

    • She has nice control and nice pitch with agility. Her highest belts though were all kinda squeezed yeah and in the softer head voice parts, she tends to her voice in her nose… but overall she’s just very squeaky in the higher notes…it’s not terrible… I think she sounds alright, her pitch and agility save her even though her high notes arent good… thank you for trusting the word of the website and asking such a question ^ ^

    • Another question Ahmin, haha. How do you place your voice in head or forehead (a la Mariah Carey, because many said that she uses this technique especially in upper belts, thus creating a bell-like and soaring quality)? I just love her tonal production in her belts, especially upper belts, which makes me think that she’s simply unrivalled in my opinion during her absolute vocal prime (Daydream Era), that though she didn’t belt higher than most, her voice sounds very angelic and pristine.

      • It’s just the focus of the sound has to be centralized in your nasal cavities located above your nose and you shoot the air in that direction, I’m not sure how to explain how to do it making like an “Ew” face and dropping your head down so you feel it pop helps me lol

    • I’ve seen this performance, I don’t remember what I thought about the low notes, but I remember his Bb4’s and A4’s were just beautiful and I loved them~ Such high notes, it’s a great performance… Sandeul has really good technique and he projects and places his voice really well with such good support… on the afterschool club he was a bit nasal sometimes but it was good ^ ^

    • He has very good control of his voice and really nice styling/agility. It’s not too agile but it’s an agile voice with very good placement and support within the range of D3 and A4, beautiful vibrato and resonance… his problem were the highest notes like B4 and C#5 he hit, too high and a bit tight but not bad. His singing reminds me of Naul… but a bit manlier

  4. Ahmin, I checked out your channel on YT. Your voice is terrible. I mean with all this knowledge about vocal techniques, how can it sound so bad. Your voice is throaty, unsupported. Your range is barely developed and weak. I dont know that many technical terms so to put it simply, if i didnt know u wrote all these analyses, i would think u r some random kpop karaoke fanatic. I dont think u have the credibility to do analyses for good to excellent singers, its above u. Weak to above average maybe.

    • Oh why don’t you tell me what notes that I sing sound throaty, unsupported and bad? Also feel free to tell me how my range is weak and underdeveloped. Hey I put these videos out there knowing the risk of getting love and also getting hate, but if you’re gonna call me out on my technique instead of the simple taste of not liking the tone of my voice, then you gotta be ready to back up your points. ^ ^ I don’t mind criticism but if you’re gonna come here to criticize, you better be constructive. So go ahead, tell me specifically EVERYTHING that im doing wrong with improper technique and don’t worry, use examples if you want, it will only help. Thank you ^ ^ also btw you don’t need to be able to do everything to be able to analyze someone who is doing it all right, I’m definitely NOT a great vocalist, but that doesn’t mean I don’t know how to tell when I hear one. One more thing, you clearly said you lack the vocabulary/knowledge and you think since I’m not good enough, I can’t judge/analyze right? So you lack the technical knowledge and yet you think you can judge me? Another thing then, don’t contradict yourself. If I can’t analyze others because you believe I’m not good enough, then why are you analyzing me when you clearly stated you don’t know much?

      • I think he’s the one whom I debate with, regarding those Mariah thingy. I can’t at him already, because he’s insulting Mariah like she’s never been good at all. He even points out that this site has no credibility at all.

        This is the link for you to know and see how he bash Mariah and say that your site has no credibility:

      • lol Honestly. I really don’t care, this guy doesn’t know what he’s saying at all, he’s just a hater, just honestly don’t waste your time with him. But hey, if this website has no credibility, then what credibility does he have? LOL Like seriously, who is he anyway? He’s literally just a hater using random “vocal pedagogy” without actually making any sense, he’s just trying to insult you and he’s a lost case, let him be a dick on his own, don’t waste your time with him kk hun? ^ ^

      • I’m sorry for being so harsh in the earlier comments. It’s just that I had the feeling that you’re similar to movie or food critics who only criticize. Of course you do know what you are talking about since you have a background in music. What I’m saying is that to differentiate between a great and excellent vocalist, I think one should strive to be a good vocalist first.

        For your voice, I think I can give a few cents on your range. The two songs “like being hit by a bullet” and “time, please stop” highlight the issues with your range. The key you picked for these two songs for me is a bit weird. I can only guess that you’re comfortable with this and anything higher can give you a hard time. The low notes are a bit wobbly due to your larynx being so low and disconnected from the rest of your voice. You sound completely different singing your low notes and the higher ones. It’s like your voice is not connected through and through. You sing most of your songs in your natural speaking range and never went above that. That’s why I said your range is not fully developed. You may say that it’s all you have. I have to disagree. Any trained vocalist will not have this kind of range, except maybe they followed some kind of commercial training program. I believe what you are doing is singing within your natural speaking voice. Without a fully developed range, it’s really pointless to talk about tone or vocal projection since all of those comes together.

      • Mhmm I see. I agree, yes I aim to be a good vocalist, I do. ^ ^ Now you didn’t seem harsh, you were plainly offensive. Was I offended? Not exactly, but I’d appreciate getting as much respect as I aim to give. Mhmm okay, so you think that, now have you listened to more of my singing than just those two covers? Actually I’m not the only one who sings in their natural speaking range, everybody pretty much does. I don’t think the range I sing in is all I have, but are you taking into consideration how wide of a range I’ve been singing in AND what my voice type is? I’m sorry, I wouldn’t mind if you said something about my falsetto because that’s 100% without a doubt the weakest part of my voice, but trying to say I have a low larynx on my low range? I can’t agree, yknow Ik stuff right? So you know I can assure you 100% that my larynx does not. lower. My larynx is as neutral in my lower range as it is in my mixed range. If you said my falsetto is weak, or my pitch goes off, or my highest part of my mixed range isn’t really good, I’d actually be totally on your side and agree, but a low larynx is NOT a problem I have. You say any trained vocalist will not have this kinda range, right okay… and what kinda range is it that you’re referring to? Do you know just how wide of a range you’re talking about when it comes to my voice? Even in those two covers you mentioned. (By examples, I meant specific times and whatnot) Oh btw I didn’t pick the keys for the songs, just sang the original key cuz that’s what happens in that class. I do appreciate your input, just hope you can understand I need to talk this out thoroughly and I need to discuss this maturely.

      • And who am I to insult this Mariah girl you’re talking about. She sang it beautifully. I’m totally not the guy you debated with. And Ahmin, about the vocal pedagogy thing, that’s what i’m talking about. If you know so much about all these terms and techniques, how come you still sound like that. I just think that for someone who knows so much about what he’s talking about, you seem abit confused on what you’re really doing with your voice. Trust me, according to your ranking, it’s not even average.

      • Who’s talking about Mariah? lol I’m sorry, that came out of nowhere…? The guy I debated with? ._. Where and about what? Right see now you’re not really proving any of the points you’ve made, or talking about how you said I’m “throaty” but didn’t actually give me any examples of that. Actually you also you did not answer the questions I asked you. Do you know how wide the range I’ve sung is, if you think my range is underdeveloped? Also, do you know my voice type?

      • It’s on The Team’s page actually. I hope you understand that, I’m opened to criticism and I actually already know my faults and my good qualities so if you’re going to criticize me, just remember to be on the technical aspect. I’ve been getting butthurt fans saying shit without being able to back it up with a credible argument and just hate on me. So… yeah. I hope you understand that too. http://youtube.com/user/Kitsunemale

    • I think you might be a baritone/tenor. But I think it’s hard to say now that you haven’t utitlised your voice to its full potential. I’m sorry that I cant use the same level of vocal vocab that you’re used to but I’ll try to explain myself as clear as possible. If you’ve heard of this “bel canto” school of classical training, you’ll know that the voice needs to be connected through out the different registers. At the moment, when I hear your lower notes and your middle ones, they sounds too disconnected with the lower ones being too raspy while the higher notes clearly seem much brighter though abit nasal in my opinion. You dont hear this in a well trained vocalist. I think your upper register is not there, like head voice not falseto. People sing in their speaking voice yes, but I think that’s just an expression for how it should feel while singing rather than how it should sounds. Many singers have terrible speaking voice but gorgeous singing and vice versa.

      • Sorry, you still didn’t explain that Mariah thing you just said which completely threw me off actually. Oh I agree, I don’t utilize my voice to its full potential, but neither have any of the vocalists ranking from weak to as high as good actually. Great ones are the closest to it and then Excellent ones use their voice to their full potential. Yes I’m 100% aware of Bel Canto and I agree there should be a connection throughout the voice now what I can’t agree with you is that I don’t have connection in my lower range through to up to my mix. Again, had you said something about my highest part of my mixed voice being underdeveloped, I’d agree with. Actually, if you think about it, it’d make much more sense to blame just how much brighter I sound as I get higher, than how I sound in my lower range, since it could be the lack of chest voice in my mix as I ascend in my range, now if you wanna say I’m not even average, you gotta have enough reasoning to back up that point. I disagree though that it’s hard to say what my voice type is regardless of the potential I’ve used of it. If one can tell that Tiffany is a soprano, then you should be able to tell what my voice type is. Also I asked you what range you think I sing in, how wide it is and why you think it’s underdeveloped, there’s a very good reason for my to ask that, btw. Also yes I do have a head voice and a falsetto, I’ve used both, even if not often.

      • I’ve been hesitating on answering the questions about your exact range and how wide you can sing and the reason is that I don’t know :( I can’t tell the notes very well. I just think that your highest note was during “one candle” perfomance since I saw you struggling abit with that note and the lowest ones are in “like being hit a bullet”. Now I will disagree on you having a connection from your lower register to your mix or whether u do have a mix at all. I believe that in order to have a mix, you need to acquire your head voice first, rite? In “nothing better”, your falsetto was quite weak and uncomfortable. I think if you had your head voice in control, it’d be easier use that. I can only guess that u didn’t use your head voice becuz u weren’t comfortable with it. Please tell me if you think otherwise. Your note F,G 4 may be bright and comfortable but that can also be achieved with a chest voice with good support and lifted soft palate. I think the mix allows even more freedom than that and can give you easy A and B. For me, it’s hard to imagine a singer with proper mix to not get at least a B.

      • No, the idea that you need to have a head in order to have a mixed voice is completely flawed. Most K-pop female vocalists, actually, don’t use a head voice nor do they show any signs of having one and yet you can’t deny that what they use to belt is a mixed voice. Hyorin is definitely using falsetto but her high range is definitely a mixed voice, you can’t say because she doesn’t use head voice, that she doesn’t have a mix. But you see, I used head voice in One Candle, I hit no notes above F4 in my mix, instead I used head voice in a part of the chorus, each time I sang it, did you not notice that? I did use a very high falsetto, for my voice type, in Nothing better and I completely agree with you, it’s not very comfortable for me to be singing D5’s in my falsetto, because, for me, is quite high. I can’t use a head voice softly on D5’s because I can’t keep my throat opened on D5’s with enough support, so I can’t use a full controlled head voice without being loud on notes such as D5 and above. See you said a singer with a proper mix and not get at least a B.. assuming you mean a B4, now tell me again, what voice type are we talking about? I mean if we’re gonna talk about developed mix with how good a mix is, Baekhyun from EXO can hit F#5 in his mix, Changmin of TVXQ! can hit G5, but anything above G4 is strained and messy, high larynx, whiny quality, but he’s a guy and a tenor, he can easily hit a B4, now what voice type are you considering for this B4 you say one should be able to easily hit with a proper mix. Actually my highest mix was in “Black Tinkerbell” and it’s because I don’t try to mix that high, since I can’t control it very well. See your points are all great, but I still disagree strongly. Yes my higher mix isn’t as developed as the rest of my range, but the fact that I lack the chest quality in my mix as I ascend above F4/F#4 actually is why mixing that high becomes hard for me and uncomfortable. Now you said you can’t tell notes very well but you seem to know I hit F4 and G4? ._. You said my range is underdeveloped and weak, right? That I’m throaty, right? Yes occasionally I do get nasal, I do but it’s on specific consonants. Now again, to say I’m not even an average vocalist, do you know the average rated vocalists from this website? Such as SNSD’s Sunny? How can you say I don’t have a connected range, when pretty much many of the even competent rated vocalists don’t either. Taeyeon barely has a lower range or a head voice and yet she’s above average to competent. Yes my lowest note is Being Hit By A Bullet, it’s an E2, from the covers I’ve posted. My highest notes lie from B3 to G4 in the covers I have posted, now that’s over 2 octaves and I still have the D5 in my falsetto and A4 in my head voice from One Candle, that’s close to 3 octaves, again comparing to Taeyeon, her showcased range is D3 to C6, her supported range is Bb3 to C#5, that’s not even two octaves of supported range and not even 3 octaves of showcased range, how is that you think I’m not even average and that my range is not developed when I’ve shown well over two octaves in my mix voice alone and only went up to D5 in my falsetto, potentially being able to sing higher? (I can, just haven’t shown it) How is it that my voice is throaty when I have support and resonance up until F4? How is it that I should be able to get at least a B4 when I’m a Baritone and the expected Baritone range is upt o A4, Bb4 tops? How is it that my lower range is underveloped with a low larynx when I’m a baritone and I can support and keep a neutral larynx down to F#2 and F2? See I have no problem admitting that my falsetto is underdeveloped, or that I’m not comfortable in my head voice, or that notes above F#4 are too light and closed and don’t have resonant or proper support, or that my voice is not agile, but the points you’ve raised, I just can’t agree with.

      • If you don’t mind me asking, whose account/e-mail are you using to post these comments? Are you talking from your own home/residence and using your own personal e-mail?

      • Ahmin, I’m sorry that I have not had looked through your list of average, good and competent vocalist. I’m abit new to the site and only came to know of it through your video on EXO Baekhyun. I’ll try to address the points that you’ve raised as best as I can.

        1. You said that you have a connected voice and you still struggle with your head voice. I listened to the videos and I still hear the shift in your voice. You can hear it yourself in the Davichi perf. In the first 35 seconds, you have one nasal middle voice and raspy chest voice. You can hear it again when you drop from your middle voice to your chest between 1:09 to 1:12. The mix and headvoice r difficult to control and I totally agree with you on this. Just can’t get rid of the feeling that there might be something off with your training that resulted in this kind of separation between the 3 registers.

        2. To discuss about what ranking you belong to, I need to discuss your criteria again. You mentioned that this site only uses vocal technique as an indication of a vocalist. For me, this is not appropriate. According to this statement, wouldn’t all opera singers be great vocalists since comparing to the rest of the music industry, opera singers pretty much know and practice the most sophisticated techniques. I believe your tone and the kind of music you’re pursuing also defines you as a vocalist. Ballad and pop singers may possess the range of a classical singer but they have to forgo required timbre for their specific voice. This resulted in whiny or squeaky tenors that you mentioned. Better singers like Naul, 4men, Noel, Kwill… can still keep a better balance in their mix which separate them from the rest. Still compared to classical singers they’re not as good, in term of “pure technical requirement”. This logic goes for Taeyeon too, she may not have the range but the tone and range she worked for synced with songs that she performed. Unless you use techniques that screw up your voice in the long run like Whitney, I think one can still be a good to great vocalist with competent technical skills.

        Now Ahmin, you pursue pop and ballad songs in Kpop, this often requires a better control in higher register, especially with males. The way you sound now, I don’t think it’s good for the songs that you picked. So far, the songs that you performed, can you really tell me it’s above average? I can totally search for some random cover on YT with better quality than this. Now you can throw at me all the technicalities that you have but please just ask your friends or teachers how they feel abt your voice. I do apologize for my blunt comments but I just do think that with all your knowledge, you should sound better, much better. I won’t be able to reply you rite away as I have to go to bed but I’ll try asap tmr.

      • Mhmm I see, see my problem with all of this is, where is it that you think you’re getting all this information from? I don’t mind critique, but what do you know about singing to be able to say such things? I listened to what you pointed out, I don’t hear raspiness though I do hear a bit of breathiness, which is intentional. I hear nasality but it usually happens on the “N” consonant. I do not hear a difference in tone when I drop to G3 on 1:09 ~ 1:12. There’s nothing wrong with my training, I’m just not perfect technically and I’m still improving the upper part of my mix, the chest voice thing though. I’m sorry, I don’t hear it. Also again, you said something is off with my training, tell me again how that’s different from other K-pop singers, such as Jonghyun or Taeyeon? They can mix but they’re straining, that’s okay with you? Taeyeon’s lower range is airy, that’s okay with you?

        Yes and no, for your question. Opera singers just happen to be trained properly from the beginning and expected to be amazing by the time they’re done, that doesn’t mean everybody ends up being perfect but it’s not far-fetched to say that it is what they’re trained to do. Now pop singers think that as long as they can kinda sing in tune, it’s okay. Well it’s not and not all Opera singers end up being perfect, so again I don’t see a problem with the technicalities. Yes the genre does affect the singing, but many of the males in K-pop think they can mix above G4/G#4/A4 and they can’t and all they’re doing is straining and hurting their voices, so that is damaging to the voice. Again for Taeyeon, she can handle C#5 but she sings many songs that require her to sing notes higher, so yeah her tone is beautiful, her technique not so much.

        I disagree with you once again. I’m not a tenor, I’m not supposed to sound like one. I’m not required to sing all the way up to C5 for me to qualify as a male ballad singer. Have you listened to “For A Thousand Years” and “Don’t Forget Me”, they fall well within my range, low and high, they’re comfortable but also showcase what I can do. I don’t have to be belting up above G4 to be up against tenors when I’m not one. The fact that I don’t try to strain notes that I know I can’t sing shows more that I’m aware of my voice, than me trying to sing with a voice that’s not mine. Listen, it’s okay if you don’t like the tone of my voice, the sound of it and you don’t think I should sing or whatever, that’s fine. I can completely understand and accept that, now another thing is to call me out on my technique when it’s not true. To tell me I have these issues you mentioned, when I don’t. Or to expect of me to sing a certain way, when I don’t need to. I have asked friends and teachers how they feel about my voice, that’s okay. You think I should sound much better right? What’s better? You want me to have a different tone to my voice or what? Because I don’t know about you, but I can hear things. I know when I don’t do well… but to say I lower my larynx, or that my voice is disconnected, where is it that you think you got the information and knowledge to be able to claim that you can hear that stuff accurately and is not just an opinion? Where is it that you have acquired the knowledge to judge me like this and think you’re right about what you’re saying? I don’t disagree that I’m not on Ailee’s level of singing, I don’t disagree that I have stuff to work on even within my own voice, now I don’t agree that the points you’ve raised are valid. So again, I’ll reinforce the question I asked before. If you don’t mind me asking, whose account/e-mail are you using to post these comments? Are you talking from your own home/residence and using your own personal e-mail?

    • If I may interject – you’ve been questioning Ahmin’s credibility and proficiency as a vocalist with no mention of your own qualifications. Don’t you think that he deserves, at the very least, to be aware of your level of knowledge or technical prowess?

    • I can’t say for sure, Beyonce, Whitney and Mariah are all excellent vocalists, Demi maybe around Competent? Ariana around above average to competent maybe? Maybe better? Maybe worse? Rihanna may be above average or average..? I can’t say for sure.

      • Waw, so Hyorin is better than Demi and Ariana ? I thought Ariana is Good Vocalist or above that, in ur opinion what is Ariana’s weakness ?

      • A lot of them actually… She has a high larynx and strains quite.. She mixes well but shes nasal and her lower range is poor. She has really good agility overall with a nice range but Ariana is not that good vocally, i mean i love her but she lacks lower range, power in her mix, listen to her Whitneys I Have Nothing and her falsetto isnt a full head voice, also sometimes she uses a whistle and sometimes a strained falsetto…

      • Her low notes can be a bit cloudy sometimes but it’s kinda that soulful approach to low notes that Naul does too, except Mariah’s E3s here were mostly just good anyway lol Her runs and control are so impeccable, like her voice just dances around notes like it’s an instrument and her breathing is basically fingers on a piano. The higher notes sounded a bit tired at first but then it was fine.. got F#5, hit it like it was nothing… oh wait there are other F#5’s, she was again hitting them like it was nothing… belting out a bunch of high notes like they were nothing… some sounded less free than others but the placement is impeccable… I like it how she goes around her range with vocal runs and just hits every single note spot on…she had a quick A6 I think lol

      • Do you think it’s her best performance? Or are there any others that can out-best it?
        I think that she sounds tired in the climax because she’s feeling anxious if she’ll gonna hit first F#5 in the climax, hahaha.

  5. “Competent
    (…) for sopranos falls somewhere within G#3/A3 and D5/Eb5.”

    Taeyeon support A3 ~ C#5, but to be competent she would support D5… but to compensate, she has an ok head voice, some smooth falsetto, can achieve resonance in D5/Eb5 repeatedly, achieved the best C5 of kpop, reaches resonance in C#5 (different from above average to only support), is stable in your support, came in improving your breathing, and isn’t nasal like an above average vocalist, right? sorry for my bad english x_X

    • She doesn’t really have an okay head voice, it’s mostly a falsetto, not to mention Taeyeon supports more like Bb3 ~ C#5, she has some D5’s, Eb5’s and one E5 with resonance but the lack of consistency just takes away the credit of such achievements. The whole achieving one of the best C5 of K-pop, that’s a personal opinion according to someone, you can’t say that if you haven’t listened to every single K-pop vocalist’s C5’s, every single C5 ever produced. Taeyeon does have resonance up until C#5 quite often, but Taeyeon’ intonation, although improved, is not perfect. Again I’m not 100% where to place Taeyeon yet because I haven’t tried to analyze her and listen to her for this year and to see how she’s doing, but she’s not that stable in support, her lower range isn’t consistently supported, her voice still gets pitchy… Taeyeon imo isn’t an above average vocalist, so I don’t get what you’re trying to say.. to me, I think she’s an above average to competent vocalist, she’s in between but she’s not quite there at competent.
      Your English sounds fine to me e se você quiser, pode escrever em português ao invés de inglês e eu respondo em português também.

      • Bb3? I always saw her own support with stability in A3, but it isn’t, can you show me?
        It has ability to make D5 and Eb5 better than vocalists who are competent to good (Luna and Eunji), she just isn’t consistent… I think she is more competent than above average to competent, but at a lower level, as Junsu, you see? obrigada!! ^_^

      • Sometimes A3, im not sure how consistent it is.. She’s hit good G#3s before too but it’s not a consistent thing … Well if she has one resonant E5, or very few resonant notes above C#5… And who said her D5s and Eb5s were better than Eunjis or Luna’s? ._. Have you heard And One? It’s not that Taeyeon loses resonance above C#5, she literally strains D5s and Eb5s more than she makes them resonant. I mean if she was at least able to support, sure, but her lack of consistency brings her down. Junsu has more musicality than Taeyeon and has consistency up until A4, that’s a different story. He’s also not pitchy often at all. Again I haven’t re-analyzed Taeyeon and can’t say for sure but this is what I believe in. Yknow the rating isn’t the most important thing but instead the content of the analyses..

  6. Se um vocalista tiver bons whistles isso é um benefício pro seu registro agudo (pra substituir uma voz de cabeça ou falsete ruim)? :)

    • L? From Infinite? I saw that he’s one of the members in Infinite F but even then I wouldn’t really consider L a vocalist…. since it’s vocal analyses of vocalists only, I’d have thought only to consider people who stand out vocally or who are lead/main vocalists in their groups, which isn’t L’s case, so I’m sorry, I might not do L >_<

  7. hi ^^ can you do Winner Kang Seungyoon and Nam Taehyun vocal analysis? I think kang seungyoon improved his vocal and can control his voice better now compare to his superstar k days.. :)

    • I have heard him recently and I mean we could analyze Kang Seungyoon or both of them but I’ll just let you know, and I hope this doesn’t offend you in anyway, the analysis won’t be very favorable…

      • I haven’t heard much but I think I’ve heard him singing 2 octaves-ish… I don’t think he’s sung 3 octaves yet though..

    • She has dynamic control but she lacks the connection of her lower range with her higher mixed/head voice range, she seemingly switches into her head voice and uses a very healthy technique of switching and has good head resonance for her head voice, good enough for a non-classical vocalist. Her lower-mid range sounds slightly awkward in terms of placement and sometimes her tongue seems to slide back slightly. She sings in a comfortable range and her head voice is very connected but I feel like for her specific genre, she could work more on how she connects her lower range to her upper range to retain the same projection and resonance she has as she ascends. Her vibrato is quite lovely and her C5’s are nice too~ The second voice shows less connection and less stability, her lower range sounds quite uncomfortable… it’s a much older video so I can only guess she improved quite a bit in her breathing, connection and control.. that’s what I hear at least ^ ^ Her tongue thing was more prominent back then…

      • Woops, I just noticed this ^^; thank you so much! One question though; what makes her placement awkward in the mid-lower range?

      • It’s just she sounds like she’s still kinda using her head voice instead of allowing the proper development of her chest voice…it’s as if she’s placing her chest voice into her head.. in a way

    • Beyonce of course. LOL There’s absolutely no comparison, Beyonce is better than anybody as an overall vocalist. Taeyeon or Ariana? I don’t know tbqh. Ariana only has one thing that Taeyeon doesn’t… and that’s agility, but Ariana has a tense jaw in her vocal runs, a high larynx in her belts (even though extensive), a tense tongue, nasality and yeah she has a whistle register but that’s not a big point if everything else is kinda messy. I don’t know if I’d say they’re even… maybe Ariana is a bit better considering her genre… but I can’t say for sure.

      • Beyonce better than anyone as an overall vocalist? You mean in Kpop, or you suggest that she’s better than someone like Barbra Streisand? Unless of course you’re referring to Babs at present, but she’s got forty years on Bey, so …
        Honestly, claims like that are my biggest problem with this site. You make so many generalizations but freely admit you don’t know so well about certain vocalists. How can you just say that? No doubt Beyonce is a great vocalist, but comments like that tend to overreach both her ability and your knowledge.

      • No I mean what I said, I know Beyonce as a vocalist and she’s one of the vocalists who has the most impeccable technique there is out there. Now when it comes to people like Barbra Streisand, then it’s different. First they sing completely different genres and second they’d be on basically the same vocal level. It’s not like Beyonce is the best there ever was, I’m saying Beyonce against probably anyone in K-pop is the best and on a bigger scale, she’s on that higher level where, on technical terms and those 40 years of career have absolutely no meaning here, she is one of the best. Beyonce, Whitney, Mariah, Barbra, Ella Fitzgerald, perhaps not all have the same technique but within their specific genres and artistries, they dominate their voices completely with proper technique for said genre with musicality and an understanding of music one can’t teach. This is your first time commenting on the website as a whole, as I see. I apologize if that’s a problem but I actually always, personally ME, I always say “take it with a grain of salt, I’m not sure” … there are things I’m not sure about and many vocalists I’m not familiar with, but I can confidently say Beyonce is in the level where she’s a top vocalist within her genre and with her voice, she may not be the best there ever was, but quite honestly there is no such thing. That’s why when people are in the same category, they may have some things they do better than others and some things they don’t, but overall they even each other out and that’s basically the case with those ladies. Of course Beyonce, as Mariah and as Whitney, have some vocal issues but they’re so minimal and such small details, I mean they’re humans, not perfect machines. Do you still have a problem with any of the things I said just now? I do apologize if I may come off defensive, it is not my intention.

      • You missed my point. I simply meant that Babs is, give or take a few years, about forty years older than Bey, so not what she used to be. Not that her career had anything to do with it.
        I agree they exhibit a control over their instruments that isn’t common in contemporary music. I guess I took your comment too literally.
        I’m curious as to what you’d say Beyonce’s minor flaws are? I understand they are trivial, but I’d be interested to hear your take on it. I am not too big of a fan of her, to be honest, but it’s impossible to deny her talent.

      • To me, her flaws are just the higher she goes in her mix, because her lower range is quite excellent and so is her head voice and even her mix, it’s just notes above F#5 that seem to be less stellar even though still quite good considering she’s a mezzo. It’s kinda like Whitney where she approaches G5/G#5 and Mariah with her falsetto/head voice, those minor things. Oh Mariah also had the inconsistency of her approach to her lower range, Bb2 was the bottom of her support even though she would at times lower her larynx on like D3 and below… but those again were just occasional things for all of them. Yknow whose lower range surprised me? Lady Gaga’s, it isn’t just supported, it is so present that it almost sounds like it’s her middle range. I was quite surprised by the clarity of it on this one comparison of mezzo sopranos video…
        I apologize, I mistook your point bout the 40 years. Well age is quite a factor, just look at current Aretha..

      • I think Babs suffers from the same issue. Babs had some stellar F#5 and a great G5 in her career, but most of her notes about E5 aren’t as good as the rest, well at least in her mix. I’m a bit amazed at how well Babs sounds still, especially in her lower register.

        Really? I haven’t listened to Gaga live much. Maybe she’s worth checking out.

      • Lady gaga is a good vocalist! And I’m not too familiar with babs but I’ve learned to be lenient towards more musical-like singers because they don’t need those high notes like Mariah doesn’t need C6s since she’s not a gospel singer. It’s all bout what the aim of the vocalist is on their own musical field, as well as their technique.

    • I’m sorry to say, I don’t believe she will be even be close to Excellent from what I’ve heard of her and even this clip, she’s definitely one of the strongest vocalists to ever come out of YG but I don’t know.. Definitely future projects, but not likely going to be that highly rated… Sorry >_<

    • I can’t. She got resonance, she’s got agility, her falsetto seems underdeveloped and she gets screechy as she gets higher…and idk how her lower range is. So I can’t say, sorry.

      • Hard to tell, her lower range isn’t bad, her head voice is good… her mix is the issue with her, she’s like Lena Park except less skilled in her lower range and head voice and more skilled in her mix…or actually they could be quite the same… Celine’s Mix gets nasal after Eb5 and throaty…and then suddenly super heady and she can mix up until C6 but it sounds so unpleasant due to the lack of proper balance between chest and head voice..

  8. so among technically excellent vocalist (in your terms) are Mariah, Beyonce and Whitney? who else can you add, cause I might start listening to the others lol (these 3 are like super popular already, so it’d be nice to know some other more)

  9. can you give this performance some time and analyse it pls ^_^ she’s getting more consistent with resonance in the second half of the fourth octave but she still tends to be throaty and tense and strain on C#5s and D5s and more :( yet her strain’s intensity decreased within time , fortunately
    Tag: Ali

    • She was actually pretty good with consistency in tone production and placement in the first D5, the first slide of the song, it was only a bit pushed… Her resonance is so round and full, I really love it actually.. Yeah but the rest of the D5s in this performance were throaty but yeas I do agree, she has more brightness in tone and less throatiness but as the song went on the throatiness increased……I was watching this and she has improved quite a bit from this

      • this is old back to 2013 she used to get throaty by her intention, like she even said it on IS2, that she has a ‘rough’ voice , but after her hiatus on IS2 she joined back with really much more improvement , especially on her performances in 2014 her resonance got really full and open and she cut off her jazz-y groov-y throaty tendancies , she somehow came in like a new singer with a new style since back to 2012 and half of 2013 she used to ,like, strain everything for the sake of stylistic choices. The same for K.will who started to cut off his strained stylistic choices
        thanks ^_^

    • Since this is singing and it’s better to listen I’ll link you a video but the short answer is to hear the quality of sound, if it sounds forced and groggy, too light and squeezes or if it sounds full and relaxed.
      This video here has more in depth examples of this.

    • Interesting. She seems to think she’s an opera singer, when she isn’t. This is really not bad at all and she does transition well in between head voice and whistle, at times, but the higher she goes the more pushed she gets and her whistle isn’t very well controlled… but this isn’t bad at all, her head voice is really really nice and full… just…. I’m not sure what she’s doing and I really don’t know what else to say about this. Her F6’s aren’t bad but I’m not sure how someone classically trained would feel about this.

      • She is a Filipina. She have a whistle ? I thought its Head tone only lol

        What is her high range there ? & what is her rating ? Good or Great ?

      • Sometimes she uses a whistle, sometimes she doesn’t. It goes back and forth. Well like I said… G6 was the highest, maybe she hit an A6 too, in classical terms she’s not that great for pop her head voice is pretty nice. I think she may be a good vocalist, I don’t know how her lower range is and I know her whistle can get messy.

  10. Hi~~ ^^

    There’s another group I really really want you to make an analysis, but they are not well known, so I’ll try to point out who’s who. They sang everything live in the last show they made in Brazil, so I’ll also use fancams for it, hope you enjoy it. :3 Could you tell me what would be their ranking? The main vocalist is Tey and the lead vocalist is Ryu.

    (in order: Ryu, Doyeon, Tey, Jin, Changjae)

    (During first half: Doyeon, Hon[ex-member], Jin, Tey, Ryu, Changjae)

    (Changjae – Ryu – Tey – Jin – Doyeon)

    (Ryu -> Doyeon [he doesn’t sing tho] -> Tey -> [Ryu & Tey duet] -> Changjae-Ryu-Jin-Tey-Doyeon)

    Tey solo:

    Ryu solo:

    Changjae solo: https://www.youtube.com/watch?v=QCkkg8kD6Uw

    Doyeon solo: https://www.youtube.com/watch?v=vqJ47VyyRNw

    Jin solo: https://www.youtube.com/watch?v=U1n4-nAF2o0

    • Oh Mr. Mr. The group? I heard of them. Did you want analyses on each of them for the future with these and for me to listen to all of these right now and tell you what I hear? Because this is kind of a lot…

      • Oh, for me it’s okay for whatever you find better to do. ^^ It’s okay If you only say what ranking you would give them and maybe in the future do one or two of them. If you think it’s too much, it’s okay for you not to do it ><

    • Lol not related to Kpop lol Mariah Carey is confusing she’s still got technique but her voice isn’t in shape, it’s hard to be accurate bout this

    • “With EmotiOOOOOO-Onnnn” Everything was tight, high larynx, half shouted and the last note she landed on…she was singing like C#5, D5 C#5 B4 A4.. so the A4 was okay but still she got a bit tense in the back of her throat with her tongue..

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