About & Our Criteria


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 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.


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.


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 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 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).

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.


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
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • 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


  • 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
  • Support 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 and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost


  • 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
  • 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


  • 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


  • 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


  • 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


  • 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





2,230 thoughts on “About & Our Criteria

    • I am sorry but I don’t know because I don’t listen to them live, I assume Chris Brown and Usher are the strongest of the 5 because I know for sure both Justins can be quite a mess, Neyo also isn’t very technical. None of them are very technical vocalists from what I’ve heard.

  1. Hi this is a random question. Can a person’s weight affect the quality of his/her singing voice? And if a person lose a lot of weight will it affect her singing voice? Sorry if its a stupid question.

  2. Did you see the video of the KR girl covering “hello”? What would you say about it? Seems overly hyped and the only thing that saved her was the acoustics of the room adding so much reverb. Seems to try to imitate Adele.

    • She has a nice voice and people find it attractive. She’s a stylistic vocalist with a style that many emulate and yet most people call “unique” when so many people sing exactly like that nowadays. I’m happy for her, all the more power to Korea. She was on the Elle Degeneres show.

      • I don’t want to get into the technicalities of her singing because she’s not a technical vocalist, she’s a stylistic vocalist. If you feel that way, then you’re most likely right.

    • Awww thank I’m glad you like it! Zion.T is a stylistic singer, not a technical vocalist so unfortunately his rating wouldn’t be very high. I am not familiar with him but he seems to have an average level of vocal technique but he has a very enjoyable style. ^ ^

  3. idk if anyone asked about him yet. what do you guys think about tei? he’s a baritone right? and how would he be ranked, roughly? thank you!

    • That’s interesting, I’m not sure actually. Let me listen to both performances or at least one and a half. He sang from C#3 ~ A4 so far on the IS2 performance.. He has good support and his tone is pretty nice, clear and forward from C#3 ~ C#4/D4, above that I’m not so sure. F#4 and G#4 are strained 2:48 F#4 strained, all in the back of his throat, 2:51 A4 strained, 2:41 G#4 the same. 3:15 I’m not sure his E4’s are are supported enough, he seems to have this bad tongue placement thing going and his voice is often at the back of his throat. Maybe he’s average? I’m not sure. C#3 ~ D4 is fine for him I believe.

    • Has been answered previously, the time stamps might be off:
      My time stamps will be based off of these videos:

      “Awww no stop, she did not sing the Star song ㅠㅜ I love that song haha
      0:27 that G3 could’ve been better 0:31 the F3 had tone, not bad! Not good but it’s not totally out of her voice. 1:07 her breaths are a bit too loud. 1:23 I liked her Bb3, that was nice. The Bb4’s in the chorus were nice, her transitions were nice too 1:35 it sounds like she has a connected head voice actually. Her voice is pretty, she has nice overall support, it’s very consistent around Bb4 and below, it’s very easy and relaxed. 3:48 that crescendo F#4 was very nice! She controlled her voice well, very nice placement too, she could have a more opened sound but that was nice. 3:50 those B4’s are very nice! 3:57 C#5 ~ Eb5 heady and high larynx but not that bad.

      Up to 0:37 very nice resonance actually all the way from F#4 ~ Bb4, nice! I was very pleased with that. D4 1:01 resonant, nice. 1:05 Bb4 resonant. This whole thing, very nice placement in her mix. Bb3’s in the verse were nice, 0:48 very quiet Eb3. 0:42 her G#3 isn’t even that bad either. 0:57 lowered larynx in around G3/G#3. She really knows what she’s doing, I’m very impressed with her placement here. 2:39 Bb4 was very nice, really strong resonance but then the C#5 that followed got throaty and pushed, BUT the placement was still really good. If she could carry that resonance up to C5 at least consistently..she might be either an Average to Above Average or just an Above Average vocalist, very good considering she’s young and a rookie. I look forward to her improvements as a vocalist.”

  4. Is there anyone in kpop that can be considered an alto? I’m an alto in choir and I was just wondering. I have had hopes for a few idols, but I wanted to make sure. Sorry if this seemed like a stupid ask Xd

    • I believe you’re most likely not a contralto. Choir parts are given to people based on their current ranges, not their true voice types so oftentimes many lyric sopranos sing “alto” in choir. I’m a baritone and I’ve sung tenor, bass and alto in choir in the past so don’t get attached to the idea of being a contralto, you’re probably not one unless ..well you know how real basses sound really dark like scary evil characters in movies? Yeah contraltos too, they sound so dark and low, they sound androgynous. Unless you’re androgynous, you’re not a contralto. Dear Cloud’s Nine9 is a contralto, the only Korean one I know of. So even though you sing alto in choir, that doesn’t mean you’re not a Soprano. You might actually be a mezzo or a soprano, or you could be a contralto. Listen to Cher and Ana Carolina for example of contraltos. (They sound like men.) There are a few mezzos in K-pop though!

  5. Hi, I know she’s not a kpop singer, but she has won SM and JYP singing competitions and it’s probably unlikely, but have you heard of Grace Lee? Anyways, she’s a youtube singer. What do you think of this performance (which is one of her only live performances since she’s obviously not a professional singer)? https://www.youtube.com/watch?v=YkVMDtw84AM If you check out her channel you might be able to find some helpful stuff though. Thanks in advance even if you can’t hear anything because of the quality!

    • Hi there! Since she’s not a K-pop singer, I’ll be brief. She is using her tongue to lower her larynx a lot to create a thicker and more soulful sound, creating tension and a sound that’s not true to the true tone of her voice, such as in 0:05 0:12 0:15 0:20 0:28 0:29 0:34 0:39 …0:51 was pretty nice though, that note had good placement. She does the tongue more in her range below G4 actually, which is not a very common thing to do. I’d call 0:51 resonance, if not at least it has good placement. Her runs aren’t bad. She sang this a minor third below the original, so when Beyonce sings from F#3 ~ F#5, she sang this from Eb3 ~ Eb5 which is pretty low actually, so I get why she’s lowering her larynx on the lower notes…it’s really too low for her. This key was safer in the higher parts but almost anti climatic. Props to her for not going for a key where she’d strain high notes, but she strain the low notes instead. She has a lot of very nice moments, lots of potential. I just wish she’d keep her tongue relaxed.

  6. Hmmm… I want to know what do you think about Seventeen’s main vocals? Who do you think stand out enough in technique?

    Have you heard Ze:a? What do you think about the vocalists? I believe the main vocals are lee hoo, hyungsik, dongjun

      • Wow really? They’re that low? I think star empire vocalist aren’t really that strong bcs i’ve read about ahmin said 9muse at best is weak too

      • this was based off of some performances from his musical and a few performances of ghost from the wind only so its not set in stone it could change if they are looked into more, but ahmin said they wont be analyzed, atleast not anytime soon, so for now yes sadly they are that low haha :p

      • oh hey you remember what I told you about them haha! Except it was only one note I showed ahmin from Ghost of the Wind not the whole performance
        but @PWT basically what mike said, sadly they arent good :( Hyungsik is so handsome I wish he were better lmao I would stan him so hard

      • A filipina singer? Again I said what I feel about analyzing non-k-pop vocalists. She’s lowering her larynx a lot on the low notes. High larynx on D5 ~ F#5. She had good moments in the upper fourth octave, runs weren’t bad. I won’t say anything else because I already explained this is a k-pop blog, we like to keep questions K-pop related.

      • lol it’s ok. I’m only just asking thoughts about this particular video so don’t worry. I’m not fan of them but I’m only curious. But anyway thanks. :)

  7. Hey, sorry if you’ve answered this before, but I couldn’t find the answer I was looking for on this page. I notice you don’t mention much any placement of the larynx here, but for many analyses you mention the larynx rising/lowering a lot as a negative, while being in neutral position, and I was just wondering why? Like, what does it mean if a singer’s larynx moves a lot and why is being in “neutral position” the best? Also, if you could explain what neutral position means, I’d be grateful. Thank you!

    • Mhmm interesting, see that’s one of the things that’s kind of second nature and looking back at the criteria, I’m not sure exactly where it’d be added into but I’ll try to add an explanation to that there. Basically, the larynx is right in your neck, for men it’s commonly called the adam’s apple. The larynx is supposed to stay relaxed without constrictions, meaning no muscles should tighten around it when you sing so as to keep the best possible tone production. When the larynx is pushed down, it means you’re forcing the muscles around it to add a different tone to your voice, a lowered larynx often creates a fake thicker “more soulful” tone or a froggy, kermit the frog sound. A high larynx creates a thin, squeezed and tight sound to the voice. The larynx is supposed to stay more or less neutral without moving because that’s the natural place for it to be in, without tension. If it raises or lowers, it means there’s tension added to the voice by the muscles working around the larynx and the larynx is being forced into a different position to hit notes that at the moment are not comfortable in that person’s voice. So ultimately, the larynx should not move much when singing, it has to stretch the vocal cords in order to thin them out so that a pitch can be produced, or thicken but it shouldn’t move.

  8. I know they are rappers but I wonder how Choi Seung Hyun (T.O.P) and Song Minho (MINO) is like as a vocalist cause they have/did sang/sing sometimes~

    • is Minho a Winner member? I am not familiar with him. T.O.P. is not a skilled vocalist, all I know about him is that he has a nice voice and that he is a baritone but he is not trained as a vocalist and therefore he does not have a very high level of vocal technique.

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