About & Our Criteria

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Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

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.

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.

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 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/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 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

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

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

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

3,890 thoughts on “About & Our Criteria

    • Jihyo sem dúvida é a melhor vocalista de Twice. Nayeon parece ser a terceira melhor depois da Jungyeon. O resto são weak vocalists.

    • I like her songs, I follow her cause she’s popular enough so I’ve been asked about her enough to know. It’s mostly accurate he’s a friend of mine, he asked me for help to write this.

    • she’s average to above average. Why do they think Ariana’s better than Demi?. Demi has very strong from A4-C5, and Ariana’s never had one note better than Demi in this area…

  1. Hi guys😀 Is it really possible for a guy (like me) to mix only as high as B4 ? I’m not really into music thingy but I’m just really curious on why it is really hard for me to go to the 5th octave hahaha. Thanks yoyoyoyo

    • It is possible, if you’re a baritone or an untrained tenor mixing into fifth octave isn’t an easy task. It doesn’t happen naturally for everyone.

  2. Admin, when will you release V’s and Jungkook’s analysis? Have you analyse their performances on Mnet Burning Karaoke? I just wonder if they have improved or not. And i can’t wait to know. Thanks admin..

    • V and Jungkook will be analyzed as part of the 2013 debuting groups. We are currently analyzing vocalists who mostly debuted before 2010 or around 2010 ~ 2012. As soon as we’re done with those, BTS will be analyzed. I’ve seen those videos, let me copy and paste for you:

      “Okay I shall watch them because they’re somewhat short haha This song is a bit too reverb-y because of those low quality mics and the equipment, but let’s go. 0:32 E4 and D4, he sounds closed and overly husky like to imitate someone’s voice it feels. 0:38 those harmonies were nice. 0:48 they both went off there, but the harmonies after were nicer. Oh I know this song! lol 1:04 G4 and the C5 and B4 transitions were pretty nice, he is not supporting as well as he could be but he doesn’t sound bad. 1:17 there was a quick E4 there that I liked, it was more relaxed and the D4’s sounded nice, he sounded nice in this part. 1:20 Jungkook’s runs…not that bad. 1:23 not that bad either, but both are kind of pitchy. His falsetto is pretty airy but it works for the song.

      Let’s ..oh 0:14 yes spank him. Oh my god, V is like 2 years older than Jungkook, age can’t be the reason why Jungkook doesn’t know those older songs lol 0:40 A bit whiny on those E4’s, a bit closed due to the vowels..he is emulating Taeyang a bit too much but he sounds relaxed to an extent, a bit whiny and airy. 0:58 nice falsetto harmonies from V. 1:05 the falsetto transitions aren’t bad, but he gets really tight going up and down, he sounds really just tight in this part. 1:30 V’s throat shape here is really off, he’s opening his throat too much in the lower end and bringing his larynx a bit down with too much air and his voice is not projecting from his mask so he sounds muffled. E4’s 1:32 he can mix G4 though, his falsetto transitions aren’t too bad, 1:42 runs are messy. I mean yes V is a baritone so not doing well on E4 and above and knowing he’s not exactly very well developed as a vocalist it’s okay, I’m not surprised. He sounds like he’s trying to sound slightly thicker and lower throughout, I’m not sure why. 2:50 here he stopped doing that and mixed a strained G4. Jungkook’s verse is not very good, he sounds like he’s struggling for air and not breathing properly, very airy and tight whiny quality of singing throughout. 3:09 G4 tight for Jungkook. The harmonies are nice and this is not exactly a technical song, 3:25 3:28 throaty and those runs…he adds them everywhere lol 3:31 not that bad of a falsetto. This is not a high song for a tenor and it’s acceptable in range for a baritone too, they don’t sound too bad but it’s just not really bringing out the best in them vocally.”

      • Do you think jungkooks runs are good I know he has a habit of adding them everywhere. Are they d.o and yerin good?

      • Oh no, not at all. He adds runs that he can’t do. They’re very much like Jun.K’s runs, they’re a lot of notes that are often not hit on point, with no precision and mostly off key.

      • If there’s really anything in those videos that you feel is imperative for me to watch and that if I don’t, I’ll be missing greatly on please post the videos here and point out the part you feel I must pay a lot of attention to.

      • Nvm I knew they’re not that good but I was meaning on a scale of Leo to Naul. Are they around average?

      • Thank you I’m not familiar with bts. Is jungkook their main vocalist? I don’t know why those two answers posted so far apart I posted them at the same time.

  3. Do you think every baritones can/must be able to hit at least E5 in head/falsetto and F5 for tenors? Lol i know this is stupid but just asking tho

    • This question pertains to a vocalist we’ve already analyzed so in the future please post a question like this on Eunji’s analysis. This is not exactly a cover, it’s a playful Karaoke session. We are not judges of rapping skills so all we can assess is the other member’s singing who are not Eunji and none of these members can support, but it’s still hard to say much since the quality is so low. All I hear is tension and lack of support, with pitch issues. Especially with Namjoo and Hayoung. There’s a lot of tension in the chorus which has a couple of B4’s and C#5’s, too high for them. 1:09 2:39 pitchy runs 1:40 the harmonies weren’t bad.

      Eunji sounds nice in “미워도 사랑하니까”, she has the support going for her. 0:50 ~ 0:52 B4’s and peaking at C5, tension. All in her throat, Bomi is not much of a vocalist who’s been trained to properly support her voice so it’s not a surprise. 1:08 choruses are flat, she sounds like this is too high for her to be vocalizing with a relaxed tone so she sounds tight and pushy, whereas Eunji sounds fine, relaxed, supported. 2:55 nice harmonies, 3:06 I don’t know why Eunji let Bomi yell that D5, but she did and it was very throaty. 3:30 very nice opened relaxed D5, she has the correct jaw position and her overall approach is much better in placement and her throat shape. Again none of this is new and it’s all pretty much well discussed within Eunji’s analysis.

  4. OOT but, what do you think about my vocal profile i’ve measured (i hope i’m not too show off here, sorry). I also apologize for not calculate it right, hehe. I think that i have B2-C#7 range. But i can’t really tell myself which one is the right whistle or which one is falsetto. I want to improve my vocal technique cause sometimes people criticize my vocal products for not-so-nice hearing. I don’t know, maybe my weird tone tho. I just learned to improve my vocal in my freshman year of high and now i’m freshman of college. Is that late?

    • You shouldn’t worry about your range being wide cause honestly that’s too wide of a range to say anything without hearing you. You’re not late.

  5. it’s 2am, i was supposed to start studying 12 hours ago but here i am on this website once more . . . is there a way to block my IP address only until 10th June? :’)

  6. How important is agility when you guys analyze a person? Does agility have a pretty significant impact on a person’s rating? Or is it kinda just like a small bonus like, if 2 people are almost similar in their registers but one has better agility then that person would have the edge, type of thing

    • It doesn’t weigh a vocalist down significantly but good agility can help keep them at a higher rating or give them a boost overall. It also serves as a tie breaker.

      • oh I was wondering about that too, also vocalists like D.O. and Yerin who have good agility, is that natural for them or is it trained? i have a friend who has a really light voice and runs come naturally to her (+ Tori Kelly), so i always thought it was natural until you mentioned that precision can actually be practiced :0

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