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 may 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 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.


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 A4/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
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • 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 F#4/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
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • 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
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • 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
  • Able to sing through their first passaggio with adequate and consistent support
  • 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
  • Unable to sing through their first passaggio with adequate and consistent support
  • 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

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey, Natalie Weiss 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





4,604 thoughts on “About & Our Criteria

    • I don’t agree with everything but the general idea is right. She or he might misunderstand what proper technique in pop music means. I agree that obviously stylistically speaking, Jimin singing like Pavarotti would not fit their music. And also I agree that for the music that they sing, for their genre and their repertoire, their technique is not good but it fits and it works stylistically. As such, they’re able to produce music that engages their main target audience regardless of singing technique. Realistically speaking, their style works for them as artists. I just simply don’t agree that there’s no proper technique in pop music because there is a healthier way to sing and an unhealthy way. There is being able to choose how to sing unhealthy on purpose and only being able to sing in an unhealthy manner. Their singing technique is not only a stylistic choice, it’s a bad habit and they could not turn it on and off at will. That means they have improper technique. I don’t agree about the usage of the word resonance for anything they’ve ever sung, but I agree with most everything else that user is saying about each individual vocalist of BTS. Also some points about support, like Jin. I just don’t feel he supports, period. Of course this user comes from a more classical background than we do, so to them it’s likely a lot of pop singing is just improper technique but even within pop singing there is proper and improper vocal technique. So all in all, I don’t disagree with most of it but there are some things I would definitely disagree or refrain from saying but it really comes from different point of views on what’s important in singing.

      • Do you agree with the part where they said jungkook’s more concerned with sounding good than emotive? What makes a singer emotive anyway? I personally think he expresses emotion well

      • I disagree with that because that’s like saying he wants to sound good technically. If she meant he wants to sound pretty or like sound nice, like airy and full of runs, sure I agree. Emotive? I don’t really agree with emotion being a way to judge singing ability since emotions are perceived differently by each individual. If you feel he expresses emotion well, then I can’t argue against nor for it.

  1. Oi Ahmin! Tenho uma pergunta não relacionada a kpop (desculpa por isso, hehe), então, se não tiver como responder, tudo bem. Imagino que você deva conhecer a Sandy, certo? Mesmo que você não a acompanhe, você tem alguma opinião/conhecimento a respeito da técnica dela? Sou um fã (como muitas crianças brasileiras nascidas nos anos 90, lol) e tenho uma curiosidade enorme de saber sobre os vocais dela. De novo, se não tiver como responder, não tem problema! Obrigado! ^^

    • Eu sinto muito dizer, mas eu não tenho opinião nenhuma na Sandy. Eu lembro coisas vagas de anos atras quando assisti vídeos que me mostraram dela, lembro dela cantando My Heart Will Go On, lembro de algumas notas da voz da cabeça mas eu não me lembro de nada…bom. Mas é só isso que eu me lembro. >_<

  2. I know they’re mostly a rap group but do you think Monsta X has any vocalists worthy of attention like A to AA or higher. Assuming you’re familiar with them.

      • I can see why. I was watching their survival show and it’s so weird Starship’s vocal coaches kept telling them to “get the feeling” and this one coach told this person exactly get hat harsh sound (he was meaning throatiness) and when the boy did it the coach was like it’s okay to be like that because that’s what people want to hear. idk how Hyolyn got to the point where she was/is with their training. On a side note have you ever thought of changing the intonation requirements for the categories because a lot of vocalists who are clearly weak have good intonation like Henry and Leo.

      • Leo does not have good intonation and intonation varies. Leo sounds really flat and off quite a bit, especially when he strains. The only reason Henry is considered for an analysis is because he has intonation..enough of it to sing in pitch. Carrying a tune is the least we’d expect of a vocalist anyway, intonation issues are bond to happen. We wouldn’t analyze someone who can’t even sing one song in one key for 90% of the time.

      • IK but I was saying a lot of the weak vocalist have good intonation and it says out of tune singing is frequent. I was just asking if you ever thought about making it tougher yhnow. You can ignore me lol I was just thinking about it.

      • Okay I see and you’re older than me but Go To Sleep its late lol. My questions can wait until the morning. Sorry if I woke you up.

      • It’s fine but I don’t understand what you mean by pushed resonance. I remember reading some pages on this blog say “though resonance, but not as full and round as…..”, “full resonance”, “large resonance”, so I am curious about something like “imperfect resonance”. Thanks anyway =]

    • Well you can consider resonance a spectrum there’s small and big resonance. That’s person was probably saying that the note was resonant but not as resonant as whoever they were talking about.

      • But to actually answer your question lol I wouldn’t use the term imperfect resonance just resonance that could be bigger and rounder. Pushed resonance is resonance just with an excess amount of air pushed through.

      • It’s not comparing two vocalists, it’s comparing one vocalist’s ability in handling notes in two different ranges such C3 to B3 and C4 to B4.

    • In Naul’s page, you’ve mentioned “full resonance” several times but I don’t see the “full” in other pages that often, if at all, and “small resonance” in Son SeungYeon’s page and some other pages. And I saw in some pages saying “optimal resonance” so I will define it as the “perfect resonance”. What is happening and what are the causes of non-optimal resonance, aka “imperfect resonance”? I know the question is long and messy so I’m sorry! Thank you very much!!

      • Optimal resonance just means you’re as opened as possible and your voice is projecting to its best. If you call that perfect resonance, then any type of resonance in which there is still something blocking the way is imperfect resonance. Small resonance means that your voice isn’t as opened as it could be and is not placed forward enough. Pushed resonance is when you are supporting your voice and you have good placement but you use an excessive amount of air pressure against the vocal cords to create resonance and support instead of relying on the sole strength of the vocal cords. The result is a sound that’s powerful and resonant, but also not fully relaxed and more dependent on the air pressure than the vocal cords. I mean if you just listen to Ailee from D5 ~ F5 or Mamamoo from B4 ~ C#5, you’ll hear it.

  3. Hello. I have a big favor to ask. This is my profile, can you rate me as a vocalist? I’ve been attending vocal lessons and these data are from my vocal instructor. He said I’ve improved and rated me as an average vocalist. But my upper register is so bad. What do you think?

    Thank you very much for your time. Your blog is very interesting. More power!:)

    Vocal Range: B2-D5 (2 Octaves, 1 note, 1 semitone)
    Supported Range: C#3 – E4
    Voice Type: Light Lyric Tenor
    • Notes within supported range sounds nice
    • Able to produce resonance up to E4 with consistency
    • Lower range remains supported with good tone production down to C#3/D3
    • Able to lift soft palate
    • Rarely shows tendency to be nasal
    • Good placement is generally achieved

    • Notes below C#3 becomes weaker
    • Produces a larynx vibrato
    • Runs are usually sloppy and pitchy
    • Falsetto is very underdeveloped, airy and can be unstable
    • Tends to sing with a high larynx above E4

    • Lower register: Well supported, connection between the vocal cords is often present and the tone produced has projection, Below C3, his voice tends to become weaker.

    • Mixed register: Mixed voice is consistently supported up to E4, with some support being carried up to E#4. He loses his consistency notes above his supported range. Sometimes can strain within his supported range due to pushing and a chest-dominant mixed voice

    Upper register: The falsetto register is most likely the least developed register. He sings with too much air and he eventually loses control.

    • Hello there. I have a few problems with your comment. First of all let me thank you for reading the blog and taking the time to care about how things work over here in our criteria. First of all, your instructor can’t rate you as “an average vocalist” if by average, he’s going by the standards in our blog. Unless he is familiar with our standards. Second of all, I will not rate a vocalist I have not heard singing because I do not trust things I have not heard. I can read your patterns and observations but I will not rate you without listening to your singing myself. Third of all, I completely disagree with rating a non-professional vocalist. It isn’t fair to you nor to professionals. Even if you may or may not have better technique than a professional, it is unrealistic to expect to be rated as harshly as we rate them.

      See there are things that are very hard for me to swallow. A tenor who can’t support above E4, but you can produce resonance up to E4? I find that hard to believe. “Sounds nice” what is nice? That sounds subjective. What is E#4? Do you mean F4? I am sorry if I am being too harsh, but this is the kind of harshness you would get if I were to actually rate you as a professionally trained vocalist and I have not heard you sing so I will not rate you. I appreciate the interest but it wouldn’t be fair to you nor to our standards.

    • My gaze widens when I saw E#4 O_O

      I think when you said “resonant” you pertain to just “sound”. I have encountered some people saying you cannot sing without resonating – -as in creating vibration through your cords, like when you strum a guitar.

      • That’s a very physics way of looking at it. I mean yes resonance is always there but not the kind of sung resonance we are speaking of. Projection and resonance are not the same.

  4. Hi Ahmin, 0:19, 0:25, 0:45, are those notes resonant? And how is 1:10, I think it’s resonant but you once said that Yoochun is not a powerhouse vocalist so I’m assuming that it’s not? This video is quite old but I find it hard to tell resonance and vibrato apart, can you help me identify them? Thanks😀

    • Do not listen to me I just want Ahmin to see if I was correct or not. ( I’m trying to improve my hearing)
      None of them sounded resonant to me. Once again wait on one of the mods. 😊

    • 0:19 and 0:45 have absolutely no amplification, they’re not resonant but they’re supported. 0:25 that F4 has resonance. I think you’re not understanding the difference between support and resonance. Resonance is like an amplified round echo as if your voice echoes within your body/mouth and then comes out much more amplified, 1:10 was small, quiet, nasal. It was anything but resonant. Vibrato and resonance are completely different things. Oh you think resonance is a vibrato, so all the time stamps you gave me are vibrato notes, not resonant notes. Well you know what a vibrato is, that oscillation of pitch going up and down, that’s correct, it is a vibrato in all those notes. If you want resonance, here’s a video.

      • It was soft but it was opened, the mic didn’t have much reverb. Yeap I mean we did help him make that video afterall lol

      • Well you two are my favorite “vocal informerers”(I can’t find the word since both of you detest to being called experts lol. You have to know how to spot resonance even if it’s soft and without any good amplification. I’m on the verge of giving up

      • Actually at this point, I’ve grown accustomed to being called a vocal expert and I don’t detest the term anymore. Don’t give up lol

      • So I’ve been misunderstanding all the time… I used to searched resonance on Youtube and somehow in all of the videos, the notes have that up-and-down trait. Is it just a tendency of vocalists to use vibrato when singing resonantly?

      • Yes it’s normal to sustain note and for vibrato to come out, so usually resonant notes are sustained and have vibrato.

    • We don’t watch videos for vocalists we won’t analyze and we will not analyze these girls. I did listen though and there was nothing vocally challenging or skilled about how they were singing. It wasn’t really something to analyze, there was barely even support.

    • 1:22 she still carries some support down to that A3. The rest was like C#4 ~ B4. Except for the 1:31 C#5, it’s good and opened in terms of placement, she produces resonance consistently up to B4/C5, but she starts to push way too hard above that and so she sounds really shouty. 2:11 resonant B4. 2:19 again A3’s, they’re not bad but the support could be better. 2:27 I’d call this C#5 supported cause it was quicker and phrased. 2:35 resonance but too pushed, she needs to relax. 3:17 too pushed, the C#5 especially. The runs are also pitchy. There was also a quick E5 there. 3:51 these runs are way too intricate for her. 3:56 too much in her throat. 4:00 F#5 very strained.

  5. I just wanna ask, is it hard to make head voice? Like how difficult? Because like generally falsetto is the easiest, right? And is there any mezzo that try to sing like soprano or is it just happen to baritone who try to sing like tenor?

    • It’s not that falsetto is easier or head voice is harder, people just tend to only be able to do one or the other. Having a connected head voice isn’t too hard, having a supported one is a little trickier though. Mezzos who try to sing like Sopranos? Of course. The difference is a mezzo and a soprano are not that far apart vocally, a baritone and a tenor are much further apart.

      • I’m still questioning like how for us to make head voice, i mean like the mouth, tongue, or anything lol. But i know like it’s falsetto or head voice when i hear in songs (mostly i think) but like i’m not sure how to make it lol
        Oooh, so it’s just the same. Do u have example for mezzo? Yeah, i’ve found baritones who try hard to sing in tenor range.

      • I mean I guess Girl’s Day’s Sojin does sing in the soprano range a lot and I’ll make a video about head voice. ^ ^

      • LOL i feel bad now :’) Btw, is it to differentiate between falsetto and head voice just like head voice are connected and kinda full and falsetto are disconnected and sometimes airy?

  6. would you rank a vocalist with support from, say, E3 to A4 but having never showcased resonance the same as a vocalist with consistence resonance within the same range?

  7. Would you say Shakira is an example of really bad tongue tension. I always knew she sounded like a frog and for some reason I started to think about it so I put one and two together and I was like ohhhhhh.

    • Theoretically it should mean that, but some people are just good at emulating things and maybe you are able to emulate the sound of a natural vibrato even though your support might not be good. This means the vibrato may be natural but it may lack control and the speed might be unsteady/uneven.

      • Yeah, well I don’t really think I can support, and also yeah I can’t really control it and it does sound unsteady sometimes but not always, it depends.

  8. Hey Ahmin! Would you do a quick analysis of this? This is So Hyang and JK Kim Dongwook duet in the latest Immortal Song. They sang Childish Adult by Gummy. Thank you and Godbless this blog.

    • 0:09 Her runs aren’t very smooth, but she’s doing alright. A couple of phrased F5’s in the beginning, nicely done. 0:24 0:27 Again those runs lacking smoothness. 0:36 quick soft transition into head voice A4. He is a bit whiny on his F4’s, but like in a way that helps him singing that high considering he’s a baritone. Their harmonies are nice and this is a nice change of style for Sohyang. She’s using a softer approach with her voice, she’s not going for power or being loud. She’s showing that she can sing softly with her mixed voice, while staying relaxed, supported and controlled. The only thing that’s an issue are her runs. 2:13 their harmonies sound pretty nice. 2:48 making F5’s sound as easy as speaking. 3:08 phrased F5’s again. 3:14 Bb5 very nice, the runs could’ve been smoother, she could’ve relaxed her jaw a bit. 4:03 head voice G#5, nice. It was a non climatic show offy performance, so she was singing in a different genre than her usual. It was nice. 4:42 F#5, that semitone F5 to F#5, the accidental was nice, the musical choice in itself.

  9. Hi admins, I love the blog, it’s so helpful!
    I’d like to ask how did Tahiti’s Jerry did here? I read a comment where you said Mijoo can support and she’s probably a mezzo, so she shas pontetial to be average right? Or at least weak to average? I’d aslo like to ask about Jerry, here, how did she do?

    Am I right when I say she’s the best? I think Jerry > Mijoo >/ Minjae.

    • I have no idea what her rating would be I’m afraid and I don’t know Miso nor Minjae well enough to tell you who’s better than whom. 1:08 those Bb3’s could’ve been better supported. 1:33 that Bb4 could’ve been more relaxed and more opened. For the most part I hear good pitch, support and her transitions are fine too which help her stay in a relatively comfortable key. 2:25 G#3 not supported, she starts to sound underdeveloped down there. The song is pretty much the same throughout, she sounds like she can use head voice on her C#5’s.

      • Oh, thanks for answering! I just saw I sent you the wrong video. I was actually going to ask about this one https://www.youtube.com/watch?v=ABuTj9E9mno I’d be really grateful if you could analyze this one because she’s more comfortable singing in english than singing in chinese. I think her high notes were better here too. No problem if you don’t have time tho.

      • Mhmm Her F#3’s in the beginning had done but they weren’t forward and projected well enough. She has an accent which causes her to have some jaw tension when singing in English actually. 0:50 Her B4 isn’t bad, but the D#5’s are pretty closed. 1:12 closed C#5. 1:25 The run is too fast for her. 1:27 closed throat on the C#5. 2:01 closed F#5. This song stays too high for her most of the time, 2:39 2:42 there are too many runs for her. 2:46 She can handle her B4’s with what seems to be resonance, 2:49 I’m not feeling her C#5’s and definitely nothing above that. 3:03 F#5’s lots of those, very closed. 3:29 closed throat, but the B4 at the end had some support with some pushing. This song is too high.

  10. Hi,
    I know this does not pertain to kpop but what would you classify Tori Kelly’s voice type as? This link is to her singing “Hollow” on the Ellen Show.

    If it’s a burden, just ignore this question and answer this: Would Shinee be considered an overall great group in terms of vocals in the kpop industry compared to other boy groups in SM? Thaaanks!

  11. Jihyo went on masked singer in case you needed some material for an analysis.
    What note did she hit at 1:04 like a C5 or something.

    • Thank you. ^ ^ It was C5 yes. Someone posted both performances on our Future Analyses page but the comments are still left up for moderation cause I haven’t answered them, so if you want to hear how she did, wait for me to answer there, okay? ^ ^

      • It was really C5. I was like “he said she can’t support higher than B4 but that didn’t sound completely bad. Let’s go with C5.” Maybe I’m a natural lol.

  12. Hi! I’ve been reading this blog regularly and appreciate what you guys have been writing. I’ve been trying to apply it to my singing too, but I’m not sure if I’m doing it right.:/ I’ve actually commented here before, if any of you guys remember, and asked about my singing, too. If any of you admins have the time, may I please get comments on how I can improve my singing? Here’s a link to a cover I made: https://soundcloud.com/user-82061837/e0gjgy3ybrej

    I know I’ve gone sharp on one note, but I’m not sure if I’ve caught the other times I’ve gone off pitch. May I know what you guys think and suggest I can do to work on my singing?

    Thanks so much!!!!!:)

    • Mhmm let me take a listen. Actually unfortunately the issues with pitch aren’t on just one note, it seems that you have a slight tendency to go flat, so make sure you watch out for these notes. 0:03 flat Aye 0:05 ~ 0:05 slightly too flat, slightly off key. 0:12 slightly flat 0:14 flat 0:29 slightly flat 0:33 flat 0:39 slightly off key 0:43 you didn’t go high enough, so you kind of changed the key. 0:54 again sounds like a different key. 1:07 flat. So obviously breathing and controlling your instrument are very important basic thing for you to master, so you should definitely keep working on pitch matching as well as singing with more breath support from the diaphragm. As for other things, of course there’s tension and issues with being supported but that will come as breath support gets better. Also this song actually is shorter in terms of phrases, so like 0:03 0:06 0:12 0:14 these notes are too long, in this song she doesn’t hold the notes out for this long. They’re quicker than that and you holding them out too long makes them sound off in terms of the genre that you’re singing. Btw I love this song, so great song choice! ^ ^

  13. I was wondering – is singing a straight line with constant gradient or a steep then more gentle curve? (sorry for the mathematical terms) i was just wondering, if someone with support until E5 wants to work to support F5, would that be less difficult, as difficult, or even more difficult compared to someone with support until B4 who wants to work to support C5, provided they’re training in the right way and with the same amount of time?

    • I’m sorry but music theory is generally quite mathematical but I’m not sure what you just said. LOL That highly depends on the individual vocalist, there’s absolutely no way for me to estimate that. At first developing support is much quicker than later on, from experience but it can vary from one person to the other.

      • Hmm, what if it’s the same vocalist then? I’ll try rephrasing it lol. Before, I could barely support A4 but within a month or so I managed to develop support up to Bb4/B4. Now I’m working on my C5/C#5s and I was wondering if it’ll take even longer than working up to Bb4/B4?

  14. Hi,
    I have some questions about Gfriend’s Yuju. (I am sorry for my bad english)
    you have said that Yuju singing is not consistent.(is it this meaning? lol)
    Not consistent is meant her performance is not stable?
    Could you give me some examples about Yuju’s singing very good and very bad?
    In the following video, the performance of Yuju is good?
    i saw some people have post this video in comments but no one talk about it.

    And i have a big question about Yuju’s high note because someone said her high note(e.g. glass bead) used a wrong skill and it will hurt her voice like sistar’s Hyolyn. I’m very worried about it.
    Is it real?
    i’m sorry if there are offensive.

    • No no, not consistent has nothing to do with her stability. The thing is Yuju has support and is able to produce resonance quite consistently, up to C#5. The thing is there were moments in the past, 2 or 3 videos, where she supported Eb5’s, I believe maybe Stand Up For Love, and sang a resonant F5, in All For You. Unfortunately, those were the only times and every single performance after that, from dozens of videos that we’ve seen, Yuju strains above C#5. So that’s what we mean by her being inconsistent, she’s able to produce supported and resonant notes up to a certain point with consistency, meaning all the time. Above that, she becomes inconsistent and we don’t know if she’ll get it right or not. Yuju doesn’t sing very bad, almost ever actually. Yuju is not a bad vocalist, far from it actually. Well Yuju is young so straining at a young age won’t hurt her voice just yet but in the long run if she doesn’t stop, it will hurt her. 0:43 resonance up to C5, 0:50 resonant Bb4. So as you see, these lower high notes she can support just fine with a lot of power and openness. 1:15 Eb5, this is the first time she went higher than C#5, also 1:21, those are notes where her throat closes and she shows tension. 1:23 also those runs aren’t very clear or smooth, but that’s besides the point. In this performance she stayed in a relatively comfortable range so she didn’t really strain her voice much.

  15. Hi I’m not sure if you are still answering those kind of questions but what do you think about those girls I know?
    I’m sorry for not giving any time stamps I just wanted to know how good was this performance as a whole.

    • They’re not bad, their pitch is fine. They sound soft and airy throughout but I’m sure they’re not professionals so I wouldn’t be harsh on them.

  16. I have sone of questions that I hope you can answer!!!!
    1) How do you fix a lack of steady airflow? I have an overly quick vibrato when I sing and I’ve tried many breathing exercises, but my vibrato remains to sounds like a goat…:/
    2) How do you relax your vocal chords? This is a difficult concept for me to grasp, but how can you just relax your vocal chords when holding a note?
    3) Last question, how do you keep a larynx lowered? I read that raising your soft palate lowers it, but I’m not sure how to raise my soft palate while singing without feeling like something is in my throat.
    I’m sorry for the sudden influx of questions, but I really appreciate the time you take to answer these questions!!! Thank you!!!!

    • Try an exercise where you a five note scale, like C D E F G F E D C, but going up and down 3 times, on Ee, Aye, Ah, Oh and Oo. So Ee up and down, Aye up and down, Ah up, Oh down, Oo on the last note. This all in one comfortable speed, but in one breath. This should help you work on more steady airflow. Relaxing the vocal cords has to do with how harshly you attack notes as you sing, so try to always control your volume and sing in a medium volume, don’t try to be too loud. Make sure C to G back down to C, that the volume is the same throughout. Oh no raising the palate doesn’t lower the larynx, yawning does both of those things though. So yawning can help you feel the drop of the lowering of the larynx and the lift of the soft palate, but try not to lower your larynx. Instead keep it neutral.

  17. Hi! I have a question. Among SNSD vocal line including Jessica, who has the most developed lower range?

    Is it Jessica>Tiffany>Taeyeon>Seo>Sunny

    I think Yuri has a spot between Tiffany and Taeyeon.😀

    Thank you.

      • Thanks for answering, So it would be Jessica>Tiffany>Seo>Taeyeon>Sunny.😀

        I’m only sure about Sunny’s rank.

  18. I’m waiting for Girl Spirit quick analysis from anybody who paste links 😄
    And i wonder what’s the main criteria of the show. Technique, vocal color, stage presence, or what?
    Can you guys tell me?

      • Idk, i just feel bad for CLC Seunghee low points in the show. Is she just that bad compared to her competitors or something?
        Duh my english, sorry 😢
        i’m bit biased because i love her vocal color, but maybe her breathing is the main problem?

      • She isn’t bad, she does have quite a few technical issues but she’s not the only one in that show. They all have strengths and weaknesses. ^ ^

      • But, did she deserve to be the one of the lowest? I wish you guys were the judges😁
        And who are you rooting for? U.Ji?

  19. Hello, I am newer to the vocal scene, as I’ve spent the last 8 years in various wind ensembles and other band related activities. I was a bit confused on supported vocal ranges, such as how to tell when one is in and when one leaves their supported ranges. Also how to tell when one enters their headvoice and not falsetto. I plan on taking vocal lessons for the first time in a few months, so I thought I would try to get ahead. Thank you for the very detailed analyses on our favorite idols!

    • The supported range is the range in which a vocalist is able to vocalize without tension, with proper breath support and when they’re relaxed. So when you start to hear someone singing with more tension than support, be it jaw, tongue or throat tension (even combinations happen), then you know they’re outside their supported range. A head voice is connected, it maintains part of your original tone and color, it can change in terms of volume, dynamics, the tone quality is present. Falsetto is dynamicless, airy and soft. Pushed falsetto can be louder but still sound disconnected. No problem, I’m glad you like them. ^ ^

    • Her support isn’t very strong from the beginning but it’s somewhat low, so she sounds comfortable and relaxed even if her support isn’t strong. 0:19 That G3 was shallow. 0:21 she does possess tone down there in that range but she lacks the support, her voice becomes slightly closed and blocked. 0:45 Here she sounds more opened and more comfortable, since it’s in a more mid-range area of her voice. 1:07 she sounds tight in this area, the aye vowel is the reason since she has tension in that vowel, along her weaker support. Throughout the chorus she is using her throat to sing too much, which makes her sound tense and lack fulness in tone. She tends to also place her sound in her nose. 2:02 throaty B4. 2:09 tightness in her throat. Her support isn’t very strong, so she sounds like she is relying much too heavily in her throat when singing. 2:57 very tight around here. 3:01 Oh that was very much in her throat, that B4 was very pushed and tense. This isn’t exactly news to me, it kind of seems like the same patterns I’ve heard from other performances of hers. Above A4 she tends to start becoming quite tense.

    • Seungkwan is singing in quite a comfortable range for him, 0:52 slight tightness around those G#4’s because of the vowel he was singing, but he sounds relaxed and supported throughout his part. Woozi sounds a bit too thin, a bit too airy. Even though he’s singing softly, he is using his throat a lot more than fully relying on his vocal cords in order to sing. I am not sure who’s singing the most in the chorus, but they’re singing up to G#4, I’m going to guess Seungkwan is the one handling it because it sounds like him. 1:49 DK sounds just fine as well for now, he sounds relaxed, this is a comfortable key where he can support comfortable. 2:11 and he used falsetto instead of mixing the G#4’s, which kept him from straining his voice in this range. Junghwan and Joshua also have the same issues as Woozi, with using their throats too much even within a reasonably low range due to lack of support. 3:08 his voice is kind of stuck in his throat and nose, which make him unable to project and maintain the pitch. 3:26 tension in this range, DK sounds tight up there above G4 but it’s not too bad. He likes to use his falsetto. 3:53 tightness on the Ee vowel, but that’s usual for most vocalists. 4:09 closed throat C5, very tight, high larynx. I mean reasonably speaking, within the lower part of the song, DK and Seungkwan did relatively well, Seungkwan can handle singing up to G#4. The rest of the members still lack true support, but that’s been established before.

    • Well it’s someone you require a trained ear to hear and it takes time to identify the difference. To hear strain it’s relatively easy, but hearing a shallow tone ..you need to hear how full someone sounds once they have learned to support. It’s really hard to explain, I apologize for that.

  20. Just a curious question, can a person with flu still be not nasal if they raise their soft palate? or will they just sound not so open like they used to?

    Now that the question is out of the way, I just want to say that I hope u Ahmin are alright, after that mess at ur twitter (sorry for reminding u…)… I feel so bad for u and those haters really amazed me like I haven’t really see fights this aggressive lol they’re literally spitting nonsense… I don’t know if it’s much help but for a suggestion… I think that whenever they(haters) ask for an explanation about why are their faves weak, i think u shouldn’t reply by literally summarising ur analysis, coz they didn’t even read and understand the analysis and they NEVER will, so u mentioning breath support, larynx, legato or whatever they really won’t understand anything u’re saying EVER so it’s useless… seriously after seeing that mess I feel so bad for you and somehow I keep thinking about the hate comments the whole day lol (u don’t nid to apologise :D) I’m amazed seeing how u deal with them with much patience, I wonder what will I do if it was me being called out lol I already saw someone being afraid about the mess that will come when the BTS analyses come out but somehow I’m more worried about the chart which might bring a storm of haters lol just remember whenever u’re being hated, there’re almost 1000 followers (and many more in the future!) that appreciates what u guys do !❤ u don't know how one can be SO excited when we receives an email about a new analysis😀 Sorry for the long rant😛 Have a good day and fighting!!!!

    • A person with the flu? When I’m sick, I usually sound slightly nasal when I speak but when I sing I mostly sound as if I were healthy, so if you know how to eliminate certain issues, then being sick shouldn’t be a problem if you’re not TOO sick.

      Yeah no I was amazed too, I’ve never seen such passion in trying to bring someone down because they don’t agree with you. It went on for days and they never stopped, it was truly amazing, and not in a good way. I feel like we use such nice words too, like average, or weak. We could have used words like the blog used to which were mediocre and bad, which to me sound a lot more offensive and not neutral. I think weak and average sound more neutral. They take the words like “weak” out of context without understanding it’s a rating on the blog. I was actually really sad because a commenter from the blog is the one who started spreading the lies that we don’t have any SM artists who are rated below average and that to me none of them are below average. I was like “Did Krystal, Changmin, Sungmin and Henry leave SM and I wasn’t informed?” Awww honey, don’t think about those haters, let’s just forget about them. Some people are just incapable of understand criticism that’s supposed to be constructive and take everything as “You said my bias isn’t good? YOU must be biased then.” Like ..this logic that makes no sense. Actually I am honestly worried about the chart too, after this mess I had second thoughts about posting the chart… Haha we have followers on the blog, on twitter, on facebook and on youtube who appreciate what we do. ^ ^ So I am thankful for all of them and it’s not a few offended fans who don’t even read our analyses who will stop us! ^ ^ Thank you for your encouragement! ㅠㅜ

      • Oh I see~ I guess the words they say “somehow” made an “impact” in me LOL Can’t wait for the chart😀 Fighting!

    • I’m a hardcore a.r.m.y and if any other bts fans throw a temper tantrum I’ll be sure to back this site up. Because I know that the people of this site aren’t saying that the members are terrible vocalists and will always be. They’ve said many a time that the reason that vocalists in kpop aren’t as good as they could be is because the companies don’t give proper vocal training enough. They don’t ever say that “so-and-so is and will always be a weak vocalist.” the experts on this site always provide an explanation on how the vocalists can improve their technique.

      I can’t wait till the analysis comes out so that hopefully someone can translate it to korean for the members to read and hopefully find a decent vocal coach to help them fix their technical problems.

      • I really hope that you won’t have to fight anyone but if you do, always remember to be nice and explain things nicely. I am not too afraid of a.r.m.y’s since so far, we’ve gotten mature reactions from them and I will make sure the analysis is written in the cleanest way possible so that they understand it’s not necessarily to do with their singing, but to do with how they were taught to sing. I would be very happy if the analyses were translated into Korean, I wish I could it actually. *sigh* All they need is an instructor who knows what they’re doing and cares.

  21. If Lyric Baritone passegio around B3&E4 and Lyric Tenor around Eb4&G4. Is there any voice type between them? And maybe the passegio?

    • Sorry I missed this comment! Actually the lighter tenors have passaggi at Eb4 and Ab4, whereas heavier lyric tenors are around D4 and G4. Of course there are voice types between them ^ ^ Dramatic tenors and spinto tenors, I believe their passaggi are D4 and G4 for spintos and C#4 and F#4 for dramatics, whereas baritenors are C4 and F4.

  22. Okay this might be a really dumb thing to ask and don’t mind the dance video the song is the same but at the beginning when he’s singing what notes are they? He’s not singing in his lower register or his mix so basically would you consider that his upper chest register or still apart of his middle register. Sorry is this is confusing I’m just curious likewise for a soprano. Love you (I have to let you know so you can know all of this is appreciated despite what some people might say about you. If it wasn’t you I would have never learned half as much as I have.)

  23. Is EXID’s Hani a mezzo soprano, and is Dal Shabet’s Subin a full lyric soprano?
    Hani sometimes strikes me as having a heavier sound, but I guess she could just be an underdeveloped light lyric. Subin, though, sounds very full lyric-y to me lol.

    • I am not sure about Subin being anything but a light lyric soprano, but I believe Hani is a mezzo soprano yes. Subin is kind of heavy sounding cause she pushes with a lot of chest, personally it’s how I’ve seen it.

      • Hmmm, I think I hear it more now that you’ve said that. Lol I’m kinda bad at voice typing girls for some reason.

  24. I can always count on something exciting happening on this blog in a matter of a day or two. The comment sections are pretty gold, and scrolling through your twitter feed would have been the icing on the cake if it wasn’t simultaneously frustrating enough to pull my hair out. Ranking charts always seem to bring out the defensive side of people. Personally, I’m just glad that EXO have reasonably talented vocalists because of how vicious the dark side of their fan base can get.

    On another note! AKMU’s Suhyun! I see her name is getting closer to the top of the list and I’m really excited. Regardless of technical ability I always find her voice refreshing to listen to, especially with the songs that they’ve released so far. Do you have an ETA for the analysis? It may have already been posted but I’m not active on twitter, so I’m not sure.

    • Honestly, I am so glad many groups have reasonably well skilled vocalists cause I know if certain groups were less skilled, all hell would break loose because of our analyses. Oh no Suhyun has not been posted, I will work on BTS now, then there will be Suhyun, GOT7 and WINNER left to go for 2014 debuts. Then finally I’ll analyze Ali, Lee hyun and K.Will. I think I’ll analyze WINNER first, then Suhyun and then GOT7. So within the next few weeks is as specific as I can get.

  25. I want to ask you this. When Red Velvet Wendy was trainee in 2013. She hurt her vocal cords. She couldn’t go for surgery so got injections instead. She said she had utilized her chest voice too much. plz tell me the consequence of that. Is this the reason why she tends to use head voice more nowadays?
    Thanks in advance ^ ^

    • If you use too much chest voice, especially in your mix, it can cause you to really harm your vocal cords due to the amount of pushing and weight you drag up as you sing higher. It’s like vocalists like Christina Aguilera, or even Ailee. Ailee uses a lot of chest, which requires a lot more work than a headier mixed voice. This causes her to get fatigued more quickly. In Ailee’s case, she does with support. However in Christina’s case, since support isn’t present, she ends up forcing her vocal cords harshly together and pushing her voice. If done too much, this can cause her voice to swell up and as a result, she’s unable to actually sing and has to wait for the swelling to go down. If this is a persistent issue, it can lead to permanent vocal damage or at least some serious damage, like her developing vocal polyps or vocal nodules. In Wendy’s case, she was fortunate enough not to develop nodules, or at least she didn’t say she did. Her mix is more balanced now and so it helps her not hurt herself either, but I can see why the issue could arise. I’m glad she’s fine now. It’s kind of reminding me of Hyorin, she started using improper technique and using her throat to push through her upper mixed voice which caused her to become more severely damaged, as heard on King of Mask Singer. Thankfully she’s recovered so even though her technique isn’t like it used to be, her instrument is much healthier. This is why technique and vocal rest are very important.

      • How do singers develop their mix to become more balanced, especially if it’s too chest-dominant? Are there any particular exercises for this?

      • There are, some are to do with using a whinier quality emphasizing the n consonant or just using more head voice by not being loud. It’s easier to explain showing than typing sorry.

    • He told me to place your finger on your throat and when you swallow you’re going to feel something go up and down. Keep your finger there and monitor it as you sing. Remember the feeling if you do raise or lower your larynx. It really helps.

    • They’re mostly exclusive to males because our passaggi are closer but females have bridges in between their passaggi, Sopranos do have sort of a passaggio around A4 ~ B4, depending on voice type (as if this was their first real mix passaggio). It is a bit more specific to males though.

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