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
  • 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

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
  • 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

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,

Admin

FUTURE PROJECTS HERE

THE TEAM PAGE HERE

1,511 thoughts on “About & Our Criteria

    • I can’t watch rn but I do agree with his comment. Although I disagree with the point that he is making about a better vocalist. He’s arguing that a better vocalist is not one who has healthier technique, so to him better is subjective but to me better is the one who has most control of their instrument and can sing with healthy and unhealthy technical approaches at will as opposed to someone who in a certain area of their voice can only sing with unhealthy technique and can’t have a on and off switch.

    • With the recent filipino questions lately, I’d rather stay away from reviewing Filipino singers at the moment. It’s a K-pop blog afterall, I apologize.

    • Let me answer it for you since I’m familiar with both of them.

      Chest register = Leah > Jonalyn
      – Leah can support it even as low as G3, Jonalyn has almost non-existing chest register (I think B3 is her lowest supported)
      Mixed register = Leah Jonalyn
      – Leah often use connected head voice, Jonalyn often use falsetto register
      Supported range = Leah < Jonalyn
      – Leah has support on G3 – D5 – C6, Jonalyn on B3 – G#5/A5
      Musicianship = Both of them are weak in this category
      Agility = I'm not sure with Leah but Jonalyn has a bad pitch in melisma and runs

      I think they are even.

      • OH my god. My comment is messed up.

        Mixed register = Leah Jonalyn
        – Leah can use it consistently even as high as C6; Jonalyn, although capable of using head voice, often use falsetto register (highest: B6). I’m not sure if it’s stylistic or she is not consistent with it.

  1. Hi, can I get some feedback on Shin yongjae (the guy in the blue suit)? Or both lol. Thank you! I love your analyses ;v;

    • The other guy is pushing a bit too much, they’re both singing very high. Shin Yongjae has resonance and support, but he gets really tight and heady as he ascends in range, his voice becomes too light and loses not only power and resonance, but also openness like at 5:37 and 5:40 those B4’s. 6:38 G#4, that’s good. See he has some notes down, his support and placement are there but as he ascends in range it gets tricky. He has good control of his falsetto and his harmony at the end was very nice. Good control of dynamics as well.

  2. Seriously this blog is a safe haven! There are a lot of opinions upon opinions upon opinions on “best” vocalists out there and it just gets lost in biasness. And of course everyone will have their own preference on singing and what now and by all means all can be justified with their own preference, but lord how we need some objectivity in skills, EVEN in kpop. So thank you! For being a stronghold of impartiality on kpop vocal skill and technique! *SALUTE! And because of you guys, underestimated idols get noticed for their skills :) so thank you to that too! There has been a change of narrative on kpop vocalists where fans are now more aware and even learned, and I think that’s wonderful! :D

    By the way, did you know some threads called you guys the “vocal pedagogy crowd” way back? which I think is super cool lol

    • We have made that big of an impact? That’s truly amazing, I never really think what we do has made a big enough impact yet. I hope to always keep improving and helping others learn more about vocalists who are overrated and those who are highly underrated. I had no idea we were called that? haha thank you so much!

  3. Hi guys. I was wondering if you guys could give a brief review about this indonesian singer. She is Krisdayanti. She’s been called indonesian diva. So i wonder if she has a good technique to be worth called a diva. Here’s the link. Thanks before

    • Her mid-range is nice, forward and present. His low notes can be cloudy, low larynx can happen, strain can happen too. 1:42 B4 wasn’t bad. 2:44 B4 got a bit throaty. She has good placement and her voice is nice and forward, the range isn’t particularly challenging on the high end and she doesn’t really do well on the high end either. Her vibrato can be quite nice. 3:58 throaty and the placement was lost. She’s not bad at all, but she’s not like outstanding vocally. She does well within the range she was singing in but I’m afraid of what happen if she was taken outside of that one comfortable octave she has.

      • Wow thank you for your reply ahmin. So that what B4 is. I honestly am a tone deaf so i don’t really know a tone. So she’s not bad right? I don’t know about her vocal technique but her voice is nice so i guess that’s why people call her a diva.

  4. Hai.. here another solo from dongwoon beast, this is a MV, can’t find a live’s ver. could you give me a opinion about this,please? thank you

    • I’d rather refrain from answering questions regarding non-vocalists who have been asked and answered many times. I’ve already listened to Dongwoon enough and cleared up the questions regarding him and this shows me nothing new and I can’t tell you anything I haven’t already told you, I’m afraid.

      • i see.. i just hope i see improvement from him everytime he does solo, this is the latest from him. thank you again

      • I understand how you feel as a fan but considering his lack of improvement in general throughout the years, unless you honestly hear something that you find to be completely out of the ordinary and might show some kind of new improvement, I feel that showing me and making me sit through performances without context of time stamps or specifically highlighted moments you feel show a difference in his singing, much less a studio recorded release, won’t really do much. Trust your own ears, if you hear him improving and you feel there’s something noteworthy, then you’re welcome to show me but please don’t just link me every single new video of his when he isn’t even a vocalist.

    • I have already listened to this, but I can’t remember when or where. He has this tight jaw thing going on when he sings and he sings with a very airy stylistic tone. He has some nice opened moments, he has support for sure. Sometimes he can sound a bit nasal but there are a lot of stylistic things going on with him. Some of his G4’s are nice though.

  5. Hello Ahmin!

    I just want to say sorry that I’ve brought you (unintentionally) in my fight with the Regine stans. I mean, they’re already insulting and bashing this blog, saying that it has no credibility, that you’re knowledge is fake and I feel very sad about the blog and you ;(. I know it’s my fault, since I mentioned you once and then they took the chance to be festive in insulting you and this blog. I can’t but to feel guilty about it, it’s very saddening. It’s my fault and I understand if you’ll gonna have bad feelings for me. I just tarnished the reputation of the blog even though my goal is to spread knowledge. :((

    • Don’t worry dear. I honestly am so glad I only have to deal with K-Pop fans because as delusional as some may be, they’re also very 50/50 or even better, but Filipinos? I’ve yet to meet a Filipino who doesn’t think Regine is the last cookie in the package, u know? They’re just fans and I know what I know, they’ve been feeding off of delusion for so long, it’s really not worth it so I honestly don’t care if they say anything bad about the blog. Thank you for your good intentions regardless.

      • In all honesty, I’m a Filipino myself but I don’t think like them. At first, I thought Regine is the best. Then as my knowledge about music, especially vocal pedagogy increases, my first thoughts about her changed. I just can’t at my fellows staying delusional. When you’ll gonna say that Regine is not the best, they’ll gonna attack you like you’re discrediting you’re own nationality. The way on how they bash/insult saying isn’t really pleasing too. Sohyang is one of my singing inspirations, the reason why I want to sing and why I’m studying singing/music. As a person who loves her, it really hurts how they insult her without basing on facts.

  6. Hi ! I don’t know if you did watch this video before but can please tell me which one is using falsetto/head voice in the last part, some examples felt tricky so I hope you could answer
    the guessing thing starts at 3:36 ~

  7. Hi Ahmin, is nasality necessarily bad? I mean can it be utilized stylistically, similarly to breathiness? And do you think Jonghyun tends to be overly breathy recently…

    • Nasality can be used for stylistic purposes but then it should not be a permanent feature to be added, it should be on and off and the singer should show his ability to control and cut this nasality whenever he wants so it would seem like a stylistic choice rather than a technical fault, like Naul at ALi at times.
      Jonghyun yes, his album contains breathiness all through but it’s not necessarly unsupported and it’s just for the sake of his style that he adopted, he still can show breathinessless tendancies when he performs with his SHINee

    • He has a very pretty tone, I never knew that. He has a nice tenor voice, clean support and stability. Around 1:04 he hits F#4 and G4 and they’re a bit tight, but not bad. His placement isn’t bad and his overall support is good for his middle voice. 1:27 that tightness is present again. 1:39 again, that area of his voice where he approaches his second vocal bridge around F#4/G4 is where he fits tightness and the support isn’t as good anymore. 1:55 that note had nice projection even if the throat isn’t completely relaxed. I’ve never really heard Chunji singing so I was pleasantly surprised with his overall singing. ^ ^

      • Thank you^^. I really love his tone. I don’t know much about vocals, apart from few things I picked up from this blog, but from what I could hear I guess he gets tight a lot when he tries to hit high notes.
        He even appeared in Masked singer if you would be interested in watching:)

      • I smiled when he started singing cuz I love this song lol 0:43 he even hit C3 and it wasn’t that bad, he hit many Eb3’s too which were nice. His tone isn’t badly supported at all, he has a very consistent tone throughout which is a very nice basic skill to have that sets him apart from weak vocalist. 1:24 his G4’s are pretty tight and there’s clear swallowing muscle tension making his sound slightly distorted. 1:34 that Bb4 as well, quite tight and the mix was very much on the heady side but he got it and his pitch is pretty good. Chunji is not bad, I’d label him as an average vocalist but better than I’d expect since I only knew of Niel as a vocalist in Teen Top. 2:23 he tried on those runs, he seems tentative about it. Overall there’s not much dynamic build up throughout the song but he has the basics down. Oh..3:17.. all of that was pretty much a high larynx with some pitch issues in the run part of that.

  8. Hi Admins! I hope you can consider doing an analysis of Zhang Li Yin. I know she isn’t Korean and promotes mainly in China now but she started out as a KPOP artist and was considered the second BoA before… And she’s also my favorite singer haha…. Pretty please? Thanks!!! I hope you find the time to do it after the many requests you get :)

  9. hi .. i know missA suzy isn’t a great singer among the great league of singers you analyse , and i know your hands are full . But could you give your opinion in a nut shell about these two live radio songs of hers..personally i think these two are one of her best , plz listen till the end https://www.youtube.com/watch?v=XsUYg3ANUXY ( i think in between she goes off pitch )

    • Hello there. It’s okay we have analyzed many non-great vocalists, Suzy is better than quite a few of them so it’s all good.
      0:21 and overall that beginning is slightly unstable, flat and a bit too airy. She listens to JYP too much for the half sound half air technique. She’s slightly too nasal but it’s not that bad. There’s barely any support in the verse since most of it is pretty much air with some tone and some instability. 1:03 flat. 1:16 flat. 1:19 flat. (But I think she knew). The support seems to be more apparent in the chorus where she’s singing in the upper fourth octave, which allows for better effort from her psychologically speaking, the higher you go, the more likely you are to try and support your voice. 2:46 pitchy on those runs. I think her voice is really pretty and she has a lovely tone, but the excessive air she’s using in this performance is causing her to lose control of her voice and hence I’d not call this one of her best vocal performances. 3:23 really lacks support and sounds tight, the tone was lost and distorted due to the tension on that C#5. 4:22 very nasal. The last chorus also had less support and the tone was less comfortable, she is not good at doing runs yet so she should stay away from it.
      For Someone Like You she is actually trying to support and it shows a much fuller and more supported sound overall. Her low notes are still pretty weak and lack support in some aspects, but the overall sound is more stable. 1:25 flat on those A4’s in the chorus, she is singing with a very “pretty” tone the whole time, without actually trying to put in a more round and full placement, she kind of just sounds “pretty”, as in like girly and soft, there’s barely power in her voice and she just seems to opt for a more defenseless sound. The C#5’s and E5 in the choruses became quite considerably thinned out and lose power completely, her mix seems to be unbalanced and lack the development of her chest voice. 3:17 lost the sense of pitch for a moment there. Her voice lacks dynamics and the placement is overall pretty nasal. Actually I wouldn’t call either of these her best vocal performances, I’ve heard better from her before actually. Let me see if I can find the link. Ah found it, I dont remember how much better this is but from memory it was better.

      The strain is still very present in her higher notes but her overall stability, pitch and to an extent power are more enhanced in this performance.

      • What rank suzy could be in? Average? Or weak to A? Cause i think A to AA or AA a little to high for her

      • haha thanks so much ,.. didn’t expect a sudden reply .. the two videos i ve taken are back from 2011/12
        and 2013 .i haven ‘t put any recent videos like the recent kpop star duet . do you think she is like iu more style than technique ??? she seems to do alot of ost but i think her voice suits more indie , maybe soft ballads. Also she seems to be always out of breath and her singing while dancing is’nt stable so i guess she is better off doing something with less movement , but alas, she is an idol !!!! .. Nevertheless i think with the given time and her schedules i think i have no right to complain i guess, she doing well compared to alot of other idols …..

        i have a voice kind of like suzy , ive always wanted to improve my vocals but i never had the time . do you think as a 23 year old female its possible to start from scratch and improve ????

        anyways i think you guys are doing a great job here !!! continue doing so…fighting !!!!!!

      • I’m not sure if I’d call what Suzy does “style”, because she lacks control and musicality, IU might have limited vocal technique but she’s sensitive to musicality, Suzy isn’t really able to express that with her voice. Yes I do believe a 23 year old can start from scratch and improve, at this age you’re more likely to improve fast if you practice correctly. Thank you very much!

  10. Hi. I just started reading this blog and I have no musical background.
    What do you think about Monsta X’s Kihyun’s singing in this particular song. 2:24 – 2:39
    Excuse my ignorance but I detect tension in his voice during 2:25 (걱정은 없어) and 2:31 (미쳤어). Is that correct?

    • Actually haha no need to talk about ignorance, this is a place where questions are welcome! Actually the tension is pretty much present throughout the whole passage, which does sit quite high around Bb4 the whole time with some G4’s and F4’s… the G4’s still carried tension. It was all pretty throaty.

  11. Hey I’m back this week! But I still have 2 more vacations this summer. How is your summer so far? Anyways I wanted to say you can post Changmin’s vocal analysis whenever you want to!

    • Sorry if this did not go with my other comment but I have been working on Solar’s vocal range for along time so I made a unfinished version like I normally do so you can check it

      This is unfinished as said so can you please watch 0:00~2:10, 2:20 and 3:36~3:44 and tell me if it’s right. Also is that E6 a whistle note? I need to know! Thank you!

      • Up until 0:37 they’re all F3’s, 0:46 part is G3. 0:55 there’s an E3. 0:59 there’s F3 there. 1:15 there’s an F#3 here as well as the G#3 before. 2:23 could be also E5 D5 C#5. 2:29 I hear Eb5. Then E5 and F#5. 3:36 kind of G#5? The Love On Top same. The E6 was kind of a whistle maybe? Or a falsetto, I’m not sure tbh. Make sure to listen to their discography in studio too! ^ ^

      • YAY still 3 OCTAVES! Are you surprised? I really doubted that Eb3(F3) anyways lol. Oh before I went to camp I listened to all their mini albums and all their singles. Also I’ve watched all episodes of MAMAMOO TV and that’s where I got the E6. Hey I’ve been trying to find a D5 and is this one?

        1:08 and it repeats again and again

      • The last note on 2:04 was a really quiet E5. 2:50 that was F5. Wheein hits E3 @3:14 in case you do her in the future.

      • Thank you! I am doing Wheein and Hwasa so thank you. So Wheein’s vocal range so far is E3-G5 and Hwasa’s is E3-C#6 so far

      • I’m done with Solar’s vocal range but before I share it with you I want to check it over again. I might add more notes too. But I am starting Hwasa’s and I’m making sure if I’m right about her E3.

        0:34 is the one I think is a E3. And @ 1:15~1:26 are G#3’s, right? Also I need help Solar’s high note @ 3:20. I always keep doubting what I think

      • Oh damn that 0:34 note was very quiet and subtle. Actually she does a quick run down there, I hear F3 ~ Eb3 ~ C#3 ~ F3. In the live version she does it as well and it’s actually a bit clearer! I’m glad she can hit C#3.

        0:18
        As for 1:15 ~ 1:26. 1:17 is G#3, the rest of the low notes are Bb3’s. Solar’s high note was a slide up from E5 to F#5.

      • AHHHHHHH SHE HAS 3 OCTAVES OMG OMG OMG! I’m crying, Mamamoo has great range. Uh I knew there was a F#5 in Solar’s high note, I originally put it as a F#5. Can we just talk about how amazing Mamamoo is? Like seroiusly their harmonies, range and everything is perfection. I love them so much! If Wheein has 3 octaves than I will throw a party. I know everyone is wants you to make Mamamoo vocal anaylsis so I will try my hardest to finish them as fast as I can

      • Haha I dont plan to do them too soon cuz I have many older idols to analyze but I’ll be very pleased with them. Don’t forget to include all they did on Immortal Song~

      • Ok before I share the beautiful range of Solar….YOU WENT TO A SOHYANG CONCERT WITHOUT TELLING ME??? GIRL YOU KNOW SHE’S MY QUEEN! I’m so jelly at least I’m going to Hawaii tomorrow. So here’s the vid and I can’t post it on YouTube yet because my unlisted is unavalible because of my stupid copyright strike so on Google+ no one will see it lol

        I can’t fix the video until in 2 weeks so just wish me good luck on my long flights!

      • If I told you I heard F#3 in the 0:50 audio, I think I meant a different part, so far all I hear is G#3. 1:53 peaks at C#5. 2:08 I hear a sustained D5 and a quick F5. 2:37 I hear E5. 2:42 Eb5. 2:45 C#5. 2:58 Eb5, 3:00 F5. 3:10 D5. 3:21 F#5. 3:28 E5 ~ F#5. So just change the order around of a couple of notes. 3:55 there’s C#5 there as well. 4:13 C#5. 4:23 it’s C#5 and Eb5. 4:30 is Eb5. 4:34 is F5. 4:43 is F5. 4:59 I was wrong, that’s like B5, I’m not sure I’d include that as singing. 5:03 is G5. Everything else is right!

      • Uh I got a lot wrong. Oh well, thank you anyways. I’m glad she sustained a D5. I hope that’s in her supported range. Btw the song with the a lot of falsetto is called Self Camera just if you needed to know

    • She is doing a lot of overexaggerated vocalizations and facial expressions, which come from both her style and her legacy. 4:57, there are examples of her making a slightly lowered larynx sounded with a swallowed kind of projection that didn’t quite allow for as much clarity of tone. Then there’s a lot of throatiness like around 5:33, where she is literally in her throat. That was an F5 though, which is very high for a female of any voice type so, it’s understandable that it could be a tough note. 4:50 and around parts like that I can hear that she has proper placement, support and tone production so that the overall sound is resonant and relaxed, even though that was a G#4. 7:09 resonance can be clearly heard on that B4. It’s hard for me to pin point what part of her singing is purely stylistic and what part is actual a technical fault. She is in her throat throughout most of the song and the harder parts sound rough, throaty, yelled and in pain, which to many people is associated with emotional singing and as seen by the audience, they’re really enjoying the connection she makes with the song due to her stylistic approaches.

      Having said that, most of what she’s doing vocally is purely throaty and is quite vocally damaging, not to mention it really takes a toll on your voice so it’s possible to do what she’s doing but for an extended period of time it can damage your voice. She reminds me of a female version of Lim Jae Bum, where throatiness is often applied to her singing. I am not a fan of stylistic throatiness because that’s mostly heard in Rock music which I am not a big fan of, but that doesn’t mean necessarily that either of them is vocally inept. I’ve heard resonance, control and support from both of them. How much of that is stylistic and how much of is technical faults, I can’t exactly be sure based on one performance alone, sadly. I mean you can sing rock and still keep a big and opened sound, as Lee Hongki, Jung Dongha and Guckkasten have shown the ability to do. I can’t properly define a supported range for her or how much of what she does is on purpose, so I can’t really say what her rating would be.

      I’m actually quite hesitant to analyze Korean “Legends” such as Lee Eun Mi and Lim Jaebum because although they’re very respected, they’re not exactly the most vocally correct vocalist. Vocalists like Lena Park for an example, are able to save themselves due to their very developed registers but if you listen to her mixed registers, it’s also very stylistic and strained and rarely does she show actual resonance and support above D5/Eb5, now for a Soprano like her and what I assume Lee Eun Mi must be, that’s okay, but Lee Eun Mi shows throatiness even as low as C5, which is not highly looked upon for a Soprano. Vocalists like Naul, Park Hyo Shin, Sohyang, Jung Dongha, Guckkasten, Lena Park, Lee Young Hyun and Ock Joo Hyun can balance their stylistic approaches with a lot of technique that allows them to be placed high in the eyes of someone who is very keen on vocal technique as opposed to vocal expressions. People like Lim Jae Bum and Lee Eun Mi aren’t so clean vocally, so I don’t believe I would like to comment much on them since my opinion and the rest of the people on the blog’s opinions would not be very popular amongst fans due to their legacy and their fame.

  12. Can you consider main vocalist of jaerim as future project? I love her voice and curious as she is one of rock band vocalis which is rare in korea.. Thx

    • I wouldn’t know, I haven’t been following her to be able to tell you that yes it’s her best E5 “so far”. It was definitely one of her better vocal days, it didn’t sound bad.

  13. Hello, can I translate some of your analyses into Vietnamese? Mainly abt YG artist, okay? I’d give you full credits, of course ^^ I’d be glad if you say yes. Thank y’all so much for these works :D
    Btw, will you do one abt Akmu’s Suhyun?

  14. Hi! Your analyses are treasures! I’m a bit of a musical illiterate so I didn’t know that so much went into vocals- I thought that once you had sufficient talent you could sing like a pro. I stand corrected. That said, I would really like to know your opinion on the following vocals:

    I’d be very grateful for your feedback!!!! Thank you.

    • Awww that’s sweet of you to say!! Thank you. Since you sent me 3 videos from 3 different people, I’ll give you brief paragraphs.
      Fofo, this girl she sounds nice! She has a really nice tone, good pitch, but in moments 2:13 and 2:43 she needed more precision in pitch. Overall the problem is that her voice can be a bit thin and slightly nasal on those C5’s she’s hitting in the chorus, she needs to create more space in the back of her throat if anything. The one other thing I’m hearing is an overly fast vibrato. 2:54 it was quite thin and her mix could be more developed.

      0:23 0:28 those notes could’ve used better projection and support, not to mention the precision. The choruses are mostly around A4’s, which is quite a bit higher for a tenor than a C5 is for a female, which leaves him at a disadvantage when compared to her. He sounds less opened and more limited in range when singing that way and he’s more exposed due to his thinner kind of closed throat space and a slightly high larynx. He also has that natural quick vibrato that lacks control like hers, and like her a natural ability to add runs here and there but they need more precision.

      This last one is a little harder to judge. I’m not sure I know what language she is singing in, I hear some English, not sure if the whole thing is in English. She has a very airy tone, slightly nasal again and the thinnest of the three. She is harmonizing well with herself but her actual technique itself is very airy and sometimes the closedness in her nose can cause her to become flat in pitch like those “lalalalilou”, they are slightly under pitch due to the lack of space in her throat with a lowered soft palate, the tone in itself becomes flat. She has the least support of the three as well and the weakest overall tone production. She has natural musicality and it allows her to musically deliver a song well but her actual technique limits her overall delivery and how much more she could actually do with different placements and dynamics.

      I’ve never really had to comment on African singers before, so I’m very out of my comfort zone here lol I’m not sure who these people are or why you’re asking about them but I hope I was able to shed some light into this somehow?

      • Oh yes, thank you very much! They are people I know; aspiring singers whose songwriting team I’m a part of. We’re Ghanaian, actually. Anyway, we’re just starting out so we need all the help from experts we can get! Thanks again, I’ll relay your comments to the others. You’re a star!

      • Oh my, I really hope whatever I said was helpful and didn’t offend anybody. If you need any help or advice, I’m here at your disposal! ^ ^

      • Not only your reply, but I’m sure your vocal tips web series will be helpful as well. Why would anyone be offended? Thanks again and all the best in your endeavors!

  15. hi~ what do you think about run she did on 06:30 – 06:35? mix voice to chest voice? please, tell me if i’m wrong. And do you think she could be as good as sohyang on runs? she did many runs when head and falsetto part came in video

    • It wasn’t a bad run, it wasn’t a quick run either but the pitch was really good and the run was pretty complex just the agility wasn’t much. The chest voice part wasn’t so good, the G#3 was like inaudible.

  16. What do you think about this performance? I’m more interested in what you have to say about Jooyoung since I’ve read some stuff about Kwill . Thanks!

    • This is a studio recording but what I can hear is that Jooyoung has good separation of pitch in some of his runs but he makes them too staccato which could be a choice. They sound nice together and this is a nice R&B remix of the song. The chorus “Baby baby baby” those Bb2’s for Jooyoung just disappeared in his voice and lacked support. It seems the highest note was like F4 so it didn’t really go into a really challenging area where Jooyoung seemed mostly fine.

  17. I know it’s waaaaaaayyyyy too early to tell, but what do you think of Wendy from Red Velvet’s vocals? She just debuted like yesterday (well, 2014) but everyone is already saying she’s better than Taeyeon and Luna, and are even comparing her to Ailee, Hyorin, Lee Haeri. I think that comparing her to Taeyeon isn’t too off but Ailee, Luna, Hyorin? It’s way too early, but as to how she is right at this moment, could you give me your opinion? Like what rating? Maybe some weaknesses, strenghts, etc?

    • Yes she totes debuted yesterday lol Wendy is not better than Luna at all, Wendy has a more developed head voice and lower range than Taeyeon, more musicianship but she lacks in terms of actual resonance. She supports as high and more or less like Taeyeon, around C#5, but differently from Taeyeon, she does not show resonance as high and as consistently. She has a beautiful voice head voice but it lacks consistency, the C6 is good from when she debuted but her currently head voice seems to be less consistent. It’s hard to tell for now due to lack of material for her.

      • thank you, that helped a lot! Like you said it’s so early that saying anything about her is kind of premature, but it helps to have a little basis, Thanks so much for your time!

  18. Hi admin i always curious abt BTOB’s vocal line skills
    Since you said u can’t analyze all vocal line member, can u make short analysis and rank them from strongest to weakest?
    bcs i think it’s eunkwang > changsub > hyunsik > sungjae
    What each member strength and weakness? Also including in which categories is each member?
    lastly what do u think abt btob’s vocal line as whole
    Sorry for ask so many qn and my bad english

    Here some my fave cover from them

    • You’ll get an answer for all of them once their analyses are done. I’m afraid I’m not sure yet but I don’t believe Sungjae is their weakest vocalist. Also don’t believe Changsub is the second strongest, I’ve heard better placement from Sungjae. Changsub will be the only one I won’t be able to answer as well as the others but from what I’ve heard of Changsub he’s at best average, he strains a good amount of his range, is often nasal and has shown no real resonance. I’m sorry I can’t give you a satisfactory answer right now, I have to really consider certain things when comparing tenors and baritones.

  19. Hello again Ahmin!

    I know this is not related to Kpop but I just want to ask this because I do want to ensure that I’m right with my judgment. What can you say about her belts here?
    http://m.youtube.com/watch?v=kJ4xuqv7EQQ

    I can hear tension in her G#5, even though it was prettily sustained with vibrato and her Bb5s are meh to me since they were like shouted/screamed. I’m hoping for your response. Thanks in advance! ^_^

    • I have already commented on this specific video:
      “People need to stop calling everything that’s loud and has a vibrato “resonant”… Ariana has improved a ton but there’s a difference between hitting a note and actually properly singing a note. Yeah she can hit G#5 and Bb5 and add vibrato but unless you’re trained enough to hear vocal tension.. Calling something like this resonant because it’s loud with reverb and one is able to add vibrato. Vibrato isn’t necessarily always natural and heathy, there’s a tongue vibrato, a jaw vibrato or even a larynx vibrato where you’re able to “shake” a note by manipulating the position of your larynx to create a fake vibrato which is more of what Ariana does here. It’s not necessarily unhealthy but it doesn’t mean she’s properly using the diaphragm to support her voice. Listen to people like Charice Pempegco to get more familiar with a swallowed tight tongue sound where you’ll be able to hear the same thing in the way Ariana belts in the fifth octave. The back of her throat becomes blocked by a tight tongue that makes her sound less resonant and opened. I mean at the end of the day I’m just commenting on here to share what I personally here and not to argue with anyone. If you’re going to reply back to me to call me names or say I’m a hater or delusional or whatever, just don’t. My comment is merely what I hear. Much love to Ariana and I hope she keeps showing us improvements.”
      Hope this answers your question.

      • She used to strain a lot of the 5th octave after leaving broadway (though people dont realize that). But you said she has improve a bit. In what way? Cause i dont follow her that much. I know her lows are getting better. Others?

        Btw, what do you think of jordin sparks? And whats the difference between gospel and pop singing? Cause you can actually hear the difference in both like in gospel, it sounds like they mix early and like you said, sounds like yelling. Like the chords stretch sideways as you ascend, hence eliminating tension. I think gospel sounds easier though. (If that makes sense)

        pop however, sounds like normal belting but usually when you ascend, you pushed it a bit, so the tone doesnt change that much. But its kinda harder ,imo anyway.

        I dont know what im talking about. Lolz. If it makes sense, i hope youll explain

      • Mhmm She used to push a lot more with her tongue and her mix was chestier when she played Cat in Victorious, now she sounds less strained and pushed even though the tension isn’t gone completely. Jordin Sparks from what I’ve heard has a really nice mixed voice and can sing quite well in that range, I don’t know much about the details of how she uses her voice. Pop singing requires less volume in a way, since there’s no church setting, and gospel singing for a good part is a lot about really high notes… like those really high belters black ladies, usually the ones who are belting way into the 6th octave, they’re gospel singers. You’ll rarely hear a pop singer try to venture into the 6th octave in their mixed voice. Also Gospel singing I believe uses a more heady mix so that you are able to mix higher, whereas pop you kind of stay a bit more in your chest and even lower in range. (I’m not THAT familiar with Gospel music so I can’t talk about many differences confidently.)

  20. Hi have you watched the show dream high? It’s an old tv series but what can you say about the hmm… How do i phrase it… “Musical opinions” made here since this show deals with music? You think the singers/actors (tho obviously all their performances were not live) really did as greatly as the show makes it to be (esp. Kim Soo Hyun since he’s not really a singer but they kinda featured him as a music genius at the end) Or was it kinda exaggerated and misguided? I’m just really curious because I’m so musically illiterate that shows like this (and your blog recently) is the closest I have to music education and would most likely believe everything haha. Thanks!

    • I am familiar with it but I only watched the first episode. The cast includes T-Ara’s Eunjung, IU, Miss A’s Suzy, Kim Soo Hyun, 2PM’s Taecyeon and Wooyoung…. that really limits how vocally skilled they are wouldn’t you say? Dream High 2 had both Hyorin and Ailee so the actual skill level was much higher than the generally low average vocal skill present in the first season. It’s kind of like comparing good harmony skills + good production from Pitch Perfect against actual vocal skill from Glee.

  21. Hi, I was just wondering what you thought of his performances? I personally really like his voice, and I think it’s quite interesting. Also, what category/ranking would place him in, based on the videos? Thanks!

    • 0:37 supported Eb3. 0:32 and 1:59 Bb2, very quiet and produced with a slightly forced out vocal fry quality to is. The overall support in One Man is generally very nice in the verse, he controls his voice very well and he knows how to manage his breathing technique so that he can control the volume, the pitch, the legato and the vibrato in that part of his voice. As he approaches the chorus of the song around 1:06, Eb4 ~ G4 , that area of his voice is in the first and second passaggi for a tenor voice. He has issues keeping his throat opened and the same support he has for his voice in the chest area of his voice down to Eb3 isn’t present up to Eb4, he starts to lose his openness by bad habits of placing his voice in his nose and using an overly heady mix, so the natural chestiness is lost and his throat creates a constricted sound. This kind of constricted sound is very tight and keeps his voice from having dynamics or being able to produce a bigger, more resonant and powerful sound. He has issues with a high larynx when he reaches the bridge and his voice becomes even more constricted. He reminds me of a Taeyang kind of technique, with a more developed and extensive mixed voice. The same kind of pattern for range, support and technique issues is present in the other video as well. Based on these videos, I would have to say he shows patterns similar to that of Taeyang and Jay Park so weak or weak to average.

  22. I hope you won’t mind if i ask a question which is not about Kpop
    Do you know Vanessa Amorosi? Her voice is mind-blowing. I want to know how would you rate her as a vocalists. And by the way, what are diffenrences between the ”spinto” voice and the ”lyric-spinto” voice? Thanks you first.

    • A lyric-spinto is a hybrid voice that shows characteristics of both the spinto fach and the lyric fach. Vanessa Amorosi, I don’t personally know her BUT from what I’ve heard of her and from people who know her, I’d guess she’s at least great?

      • You analysed SoHyang as a ”lyric-spinto”, and from what I’ve listened to her, can I say a lyric-spinto has a bright, smooth timbre instead of a dark one like spinto? I’ve known a American vocalist has a similar voice to SoHyang: bright, girly timbre, middle belting range is still bright, but high belting range is so tremendous with a steely egde. It’s Cyndi Lauper, but her technique wasn’t so good.
        And do you know Son Seungyeon? She’s so young but talented haha. What’s her voice type? I’m so confused ’cause my friend considered her as a spinto soprano, but I just feel like she lacks of steely characteristics of a spinto one, I mean in dramatic passages.
        Thank you.

      • Yes well to me personally Sohyang shows more characteristics of a full lyric than a spinto soprano. I’m not sure what seungyeon is but I believe she’s also lyric, not sure if light or full though. Imho of course, voice typing women isn’t my forte.

  23. Your analyses are so great! Out of curiosity, who do you believe is the best vocalist form the girl group, MAMAMOO? And do you believe them to be as good as everyone says they are? :-)

    • I actually am not sure who the best vocalist in Mamamoo is, I used to think it was Solar but now I honestly think they’re pretty even together and they’re only slightly better than one another. They’re not a group full of “good” (as in our category for good) vocalists but they’re one of the highest averages for vocal ability within female groups.

    • Myungsoo has a lot of nasality and a lot of tongue tension when he sings. He might be getting more lines, he’s got better pitch than Sungyeol and is less tight (but also singing lower) than Hoya, but overall he isn’t exactly a vocalist to me. I consider only Sunggyu and Woohyun vocalists, Myungsoo may be getting more lines but who’s on the same vocal level as them. 2:12 he sings with a tight tongue, he has tension on C4, as he does when he ascends to A4 and down back to D4. His singing in general has tongue tension. 3:32 that Bb4 was just a high larynx with a lot of tension, there was no support. Very pretty song btw.

      • Yay 3 octaves! It’s pretty weird that 2 of the dancers have more range than the best vocalist in the group (Taeyeon) lol. But this is random but I’ve been thinking of doing a vocal range on Mamamoo’s Pink Funky album. What do you think about that?

      • That was C#5 mixed and then Eb5 falsetto, not really high at all. That’s kinda sad lol P.S. did you see Changmin is done? lol

      • OMG he’s done! I have to get there! Umm ok I knew it was not that high but I’ll try to listen very closely

  24. Hello!

    Where would you put GFriend’s Yuju in your criteria? She just debuted and is only 17 years old so there is obviously room for improvement. Since I’m no expert with vocals, I go by what I think sounds good and I just wanted to know if I’m completely wrong with my intuition.

    Here examples of her singing:

    Thank you and also thanks for the all the analysis you make, it is really interesting.

    • She has beautiful resonance up to C5/C#5 consistently, good support, some pitch issues here and there. Her voice is very strong and opened sound…but she has lots of issues with consistency above C#5, she has shown resonance up until F5 but she has strained many notes all the way there in the past too. She’s possibly an Above Average vocalist or an Above Average to Competent vocalist.

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