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.

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 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 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

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2,834 thoughts on “About & Our Criteria

  1. You’re probably busy but can you tell me what you thought about the vocal line performance, like from 1:58 onwards..thank you!

    • All the notes from 1:48 ~ 2:15, all of that was just a lot of straining for all of them. It’s too high for a baritone, so I don’t why Hyunsik was singing D5’s at 2:07. All of them hit C5’s, Eunkwang hit C5’s at 2:12, Changsub hit C5’s at 1:48 up to 1:58, C5’s and Bb4’s. The highest note Sungjae sang was G4, so barely any strain there. None of the vocalists in BtoB can support Bb4, Eunkwang is the only one almost there. There is no single tenor in K-pop that we know of who can consistently sing above C5 or even up to C5 with support and resonance apart from Kyuhyun or non-idols like Park Hyoshin and Naul. So basically, it’s not necessarily a bad thing that they’re all straining, since I would be surprised if none of them were straining those Bb4’s, C5’s and the D5’s. It’s too high, I just wish they wouldn’t try to sing this high. It doesn’t sound strong, it doesn’t sound powerful, it doesn’t sound resonance. It’s just thin, they lack power, they sound small and thin so it’s much more effective to belt high when it’s in a range where you know you have power, so they are singing too high for their current level of skill. 3:05 oh hey Eunkwang hit Bb5! That’s his highest note, he never went that high before! Yay! Okay going to alter the vocal analysis~ Anyway, sorry if I sound harsh.

    • It’s hard to say I remember none of them do well above C5 and Wooyoung seems to be the strongest but yeah the IS2 didn’t focus on individual skill much.

  2. You’re probably annoyed of all this Zhang Liyin stuff. But I just love it when you rate her vocals. This is her cover of Christina Aguilera’s “Reflection” when she was just 11 years old! I say the girl has potential. Please don’t mind her “engrish” and just focus on her vocals. How did she do? Thanks in advance!

    • Her voice was quite mature as a child lol She had more tongue tension back then. Yeah she was butchering the lyrics. The runs are really pitchy…yeah I’d rather not judge her based on her 11 year old self lol

  3. Hey I’m back. So here’s me singing, hopefully you’ll get the chance to listen and tell me your thoughts. You can be honest with me, I won’t take it personally. Instead, I’ll use it to improve myself XD Thanks in advance.

    • Oh right I saw this comment before but I forgot to unapprove it. Could you repost the link though? In a more computer friendly way so I could click on it? Wait jk I got it. Ill reply probably tomorrow!

  4. Hi admins,

    There’s something that bugs me about the criteria. Why do need baritones to mix up to Bb4 in order for them to be “Excellent” when they might stop at F4/G4?

    • What baritone do you know who can’t mix above F4/G4? A baritone should be able to mix at least A4. Bb4 is not 100% required, it’s like a rough estimate. Apart from John Park who I am sure can mix above F#4, I’ve yet to hear a baritone who can’t strain an A4 at least. Youngjae can, Sungjae can mix above Bb4, Hyunsik can mix D5, so can Junho. So can Hwanhee, Hwang Chiyeol can mix Bb4 or B4, Jung Joonyoung and Roy Kim can as well. It’s not unrealistic. If you can’t mix above F4/G4 as a baritone, it’s most likely due to a technique issue, not a voice type issue. (Unless you’re a much lower type of baritone.) Even my friend who’s a bass baritone with no training can shout A4/Bb4.

    • They don’t have to mix up to Bb4 that definitely isn’t a set in stone requirement at all. Not even Baritones in Classical Music are expected to have resonance up there, in fact I can’t even think of an aria that even has a Baritone up there. It’s more like G#4/A4. Every Baritone should be able to get out at least an A4, but for some that is harder than it is for others.

  5. Hi! I’m not a singer, but I really like your analyses. Very interesting for someone like me who knows nothing abt the technicalities!
    I was wondering tho, you always seem to refer to a singer’s bad/good habits and improvement over the years. What exactly are good and bad habits and how does it specifically affect a singer’s performance(or biology? lol).
    Oh and does outside training, like those singers/idols that didn’t get pre-debut training in their agencies, make them better/worse in some aspects?

    • Bad habits are basically doing things that are technically incorrect and doing it over and over, like a habit. So like having tongue tension, sliding the tongue back, shaking your jaw to create a vibrato, those are bad vocal habits. I’m not sure, I feel like outside training seems to help most but not all of them. It’s a combination of the right instructor with the right singer, who has the right mindset and listens well.

    • You’re the third person to ask that so..I’m going to copy and paste what Pandayeu said OneHallyu.com “In an overall sense she did pretty alright her pitch was spot on, her placement was really good, I don’t believe there was any resonance..but she had some good supported moments with nice open sounds. There were some specific moments that were kind of odd to me and actually uncharacteristic to her, for example 0:41 “그렇게(geureohge) is just a C5, but she didn’t really execute it well. She had some tension, and I don’t get why..she normally does C5 very well..I don’t think it was because she attacked it too hard..so idk..it could have just been the vowel..only that makes sense to me. Also 0:56 that C#5 couldn’t have been more open as well. 1:24 C#5 had nice support, but could have been more relaxed. Hmmm, but overall, like I said, it was a pretty decent performance just some things went on that could have gone better. “

    • Who are we supposed to focus on? If it’s Jung Yonghwa, then please videos like this on his analysis. ^ ^ Also please refrain from posting MR Removed videos, they distort sound. The performance is nice, they’re singing softly and within a reasonably comfortable range. Their harmonies are very nice, 2:04 F#4’s around there 2:07 G4, those notes are outside his supported range. So he sounds tight and strains those notes. 2:13 her run was sloppy. 2:17 he sounds very tight in this part too. She’s singing with an airy tone throughout but she goes back and forth on it so it feels pretty stylistic. It’s a really pretty song and they sound pretty singing it, from a subjective point of view.

  6. I see you have Jung Dong Ha on the list of future analysis, but I was wondering if I could get a really quick overview of what you guys think of him.

    • From what we’ve gathered, he has a beautiful relaxed, head resonant and supported head voice up to A5, with great dynamics. Support in his mix up to Bb4/B4 consistently, possibly C5. Resonance is consistent and his lower range seems nice from C3. Good pitch, good control of dynamics and stylistic devices.

      • No, he’s Shownu, who I don’t think is a main or lead. By alright do you mean that he wasn’t throaty? Was his placement a little bit nasal? It’s still hard for me to differentiate between mask placement and nasal placement unless the singer is obviously whiny :P

      • I mean I remember watching it before. The highest note is F4… Theoretically I don’t rmbr the performance too well.

  7. I think he’s gonna be one of the main of SM upcoming Group how was it ?

    In this he sing with another SM rookie Doyoung who’s stronger ??

    • 1:25 that note was very nice. I’d rather not judged based on a video that’s not clear on who’s singing what and on a studio song. Let’s just wait for their debut, okay? lol 2:22 and 3:19 tho, the A4’s in the OST, good placement or good reverb but they sound tight.

    • The OST I think the A4 had good placement , I think he have support up to F#4 or Maybe G4 They gonna debut in spring I think they pretty average the other one Doyoung is the next generation of changmin and Baekhyun he have a heady mix in the 5th octave

  8. Admin, is vibrato really indispensible or important to vocal techniques ? Does it reflect the quality of a singer?
    Can you explain more about vibrato as well as how to create it?

    • Vibrato comes out naturally if one is to allow their vocal cords to vibrate healthily and steadily without any forcefulness or tension in the way. There are fake vibratos that one can produce by using their larynx, their jaw, their tongue or their diaphragmatic pulse. The natural vibrato just allows resonance to be bigger, it helps sustaining notes and it really is kind of a stylistic device you are able to control and turn on and off. It’s just important to be able to use a natural one.

      • Not necessarily, it just means there are most likely certain things that need to be worked on in terms of relaxing and support.

      • This isn’t KPOP related but speaking of vibrato, would Demi Lovato’s vibrato in this video (especially at 3:10) be a fake vibrato? Everyone’s been praising her performance but everything about her technique just sounds so forced to me. https://www.youtube.com/watch?v=MmlaVK_UvxE

        You know, I’ve learned so much (and still learning) about singing ever since I stumbled upon this website. Now it’s so hard to just sit back and watch a performance like a normal person. I’m unintentionally critical about everyone’s singing and I feel bad that I don’t see the greatness that everyone else sees. When I hear all these other people try to sing, I can’t un-hear Sohyang’s technique. Thanks a lot… lol.

      • It sounds like a throaty larynx vibrato actually, there’s a lot of tension in that section that you highlighted. Right, I know what you mean, trust me. That’s why I avoid watching Audition TV shows lol

    • Vibrato should happen naturally however your vocal chords need to be strong enough. You would need to strengthen your muscles with vocal exercizes, hence trained singers should be able to produce vibrato. Then it will happen naturally.

    • I’m sorry, this is a K-pop blog and we focus on questions related to K-pop vocalists only, since we’re more likely to analyze them in the future. So I apologize, but we don’t take questions like this anymore.

    • Sohyang? She wasn’t even above average when she first debuted I think. Luna maybe Above Average, Ailee was probably good, Taeyeon Above Average no idea for Lena Park.

      • Can we called Ailee’s vocal as a gift? She’s really amazing being like that when she just start the career.

      • Everyone’s voice is a gift and Ailee’s voice is no more special than any other vocalist’s voice. Yes, she has a fair amount of vocal skill and has had it since her debut, but that’s because of training..not because she has some magical gift/talent I mean…she still has quite share of vocal issues.

  9. Hi ahmin! This blog is amazing, it opens my mind about singing techniques. Just found out that Luna is an amazing singer! ;)

    Btw i know this doesnt relate to kpop, but still about music and singing. Sometimes i still find it pretty to listen or even more sound better when the singer sound airy, strained, or anything related with bad singing technique, is it mean i have a bad ears? Lol, because i read on the internet that most singer i like actually dont have a great technique

    • No it’s just a preference of style. If the singer is able to sing that way on cue and on purpose, that’s good as long as it’s controlled. I mean airiness is fine, I think it’s pretty too. Throatiness not so much.

    • No, it doesn’t mean you have bad ears..you just like what you like. I genuinely like IU’s voice, but she’s not anything amazing.

  10. Hi, this is not really a Kpop question — I was wondering if any of you guys listen to Sara Bareilles. She always strikes me as a really talented musician but I don’t know how she does vocally. I believe she is a mezzo-soprano, no?

    If you have time, please quickly elaborate on how she did in this:

    (the music starts around 1:39)

    Thanks so much!

    • You do know we don’t answer these due to lack of time to address all these questions. So I won’t watch the video but I can tell you from what I know, Sara has a nice lower range, her mixed voice is healthy and she’s able to produce resonance. She has a nice head voice, I don’t know the specifics of where her support starts or ends but I know she’s a skilled vocalist and yes I believe she’s a mezzo.

  11. Hi! I was wondering what you thought about Junhoe’s voice/technique? He’s the main vocalist of iKON (I started listening to some of their stuff a few days ago and I fell in love with how his voice sounded). Even though I love his voice, I feel like he strains sometimes/doesn’t have very good technique. But I was wondering what you think ^ ^

    • Mhmm what I think of his voice and his technique are two completely different things. I think he has a beautiful voice, it’s a really nice thick voice. He’s a baritone. 0:30 His falsetto is disconnected, tight and he is not relaxed so he ends up losing the sense of pitch. For his mixed and chest voice, he is doing too much. There’s WAY too much going on, too much pushing of chest voice, too much throatiness, too much of his throat working. The only part where I was like “Oh he sounds relaxed” 0:25, “Why won’t you release me”, that’s the only time he was singing below C4. The Bb3’s sound more relaxed and I hear support actually be addressed in this area of his voice, the rest is just pushing his voice with his throat. He is all in his throat and he’s pretty pitchy, like 0:58, his runs are slow and pitchy, 1:06. He has actually pretty damaging technique. He’s completely in his throat, as a baritone he has no support on C4 or above. He’s most likely going to end up as a weak vocalist here unless his technique issues are addressed but in YG that’s less likely to happen. 1:46 he can strain his falsetto really high, up to A5. Also his rating would depend a lot on his lower range and how he sounds there but for us, if a male can’t sing above his first passaggio well…they’re not doing so well. A light lyric tenor’s first passaggio is like Eb4 and for a lyric baritone it’s B3… that’s his first passaggio and he can’t support that..or barely.

      • Aww, I knew his technique wasn’t great, but I didn’t know it was that bad. That video was pre-debut, two-ish years ago. Hopefully he’s improved? I really hope so, I’d hate to hear his rich voice get damaged :/ I actually just found this performance: https://www.youtube.com/watch?v=TFR0S9mYMLE from this year. Has he improved a bit, or is it still the same?

      • Actually it sounds much better, a lot more relaxed. He still sounds pretty throaty as he sings higher but his C4’s and even Eb4’s sound a lot less throaty, a lot less forceful. I’m so glad to hear this. The chorus of the song is still too high for him but G4’s are hard for us baritones, so I don’t blame him. His support is still very weak and he relies a lot more on his throat, the more I watch, the more he seems to sing with his throat. He was less throaty in the beginning of the performance… It’s a shame really, with such a nice voice. 1:03 that one of the nicest notes he sung, one of the nicest lines overall actually but as it went on, he got throatier and started singing higher. He needs better instruction.

      • Tired…. It wasn’t like he was singing that much. 1:07 2:30 and 3:23 He sounds so throaty and rough when he sings, I don’t get why he tries so hard, he is doing WAY too much. There’s just too much effort. The other song is the same, all of those are way too high for him.

  12. Yo guys! It’s me again. Can I ask you to rate her vocals in this new cover? This is probably her latest singing style… Her style has changed from strong and rough R&B to Husky R&B to the Soft and Clear Chinese style with hints of R&B too the now strong and Rough R&B again… Sorry if it’s quite confusing hahaha. So how did she do? Love your blog! Thanks in advance.

    • I don’t really have anything new to add to her vocals besides her runs could use some work, like at 1:33. Lots of rapping, more chestiness on the c5’s in the choruses but the D5’s still show tension so idk there’s not much new. It’s just chestier, that’s the biggest difference but the support still stays where it was before.

  13. Hello, I’ve been wondering, how exactly does one differentiate between a falsetto and a head voice when listening? Especially with males, it seems to be either a very small margin or just a massive gray area..? There are countless times that I watch a video posted in the comments here thinking a vocalist is using a head voice, whether male or female, and once I read your response (much to my foolish dismay) it turns out to be a falsetto.

    I do know the basic knowledge, at least I hope that it’s basic knowledge, about falsetto being the more airy “h-h-h” sounding one and that head voice has a more projected sound.

    Sorry if this is a bother, I know that the analyse’s take up a large chunk of time + the tons of comments you have to wade through. Thank you as always to all the admins/contributors for making this blog amazing~

    • It’s hard for me to explain exactly, it’s not just the airiness. Sometimes someone uses a not head resonant head voice, so it sounds connected but it lacks resonance, volume, roundness and power. It’s just about the true connection that you’d have hear but I’d need to see which ones you mistook for head voice and why.

  14. It’s not about kpop singer but I’m so curious about this girl’s vocal technique

    She is the runner up of a big talent show in my country but I think she’s not that good *maybe I’m jealous lol*
    Thanks for answering!

    • Jiyeon sings with a lot of airiness in her tone. For the most part her placement is very nasal, her tone is thin and weak. She lacks power and volume, her vocal cords are often constricted by the tension in her throat caused by her closed diction. Also she sings with very weak breath support, causing her tone to be shallow and lack depth. She barely supports her voice overall, her lower notes are very airy and quiet and her higher notes are sung with a high larynx for the most part. One of these videos …or both of these videos weren’t actually live.

      • Is this caused by lack of technique or due to the vocal ability you are gifted with when you are born? :/

      • This is caused because she’s never worked to improve on the vocal ability she first started with since she was born. She’s been singing this way for years, never tried to change the way she sings and thus she’s never improved her technique. Everyone can be a good vocalist if they work.

      • I see, so even if you are born with very weak vocal, you can still work on it to become a “good vocalist” but never a great or excellent vocalist right? Btw, what does “caused by her closed diction” mean? o.o (And I am assuming you believe Jiyeon is a weak vocalist)

      • No I meant the word “good” loosely, if you work hard enough, of course you can become Excellent but only with the right combination of good habits in singing. Yes Jiyeon is weak. Closed diction means she doesn’t enunciate well so her voice gets trapped in the tension created by her speech habits being translated into her singing. When you sing, you shouldn’t pronounce things 100% perfectly.

      • It can be but have you ever heard be strong, full and supported? If not it indicates it’s not on purpose, it’s a bad habit.

  15. Is it just me or do I feel like the criteria changed?.. Maybe it’s just me bc I remember competent sopranos needing a supported range of around C#5/D5? D5/Eb5 seems a bit too high.. but what do I know about other vocal types? XD

      • “Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5”
        I was wondering about this too because none of the competent sopranos can support up to D5/Eb5, but all of them can support lower than G#3/A3, and some have head voice. Is it the lower range, head voice, and consistency in resonance and support what makes them competent even though they don’t support that high? Or is D5/Eb5 a bit too high for competent as Lunar said?

      • The slash indicates a “one or the other” meaning if they have D5 with a nice balance of other things such as lower range, head voice and such that gives them the same rating. They’re just a lower competent soprano. It’s because some competent Sopranos might only support A3 ~ Eb5, it’s a tough estimate, not a set rule.

  16. Ahmin, I know that Dasom from Sistar has improved but is it enough to make her a vocalist (weak, of course) or is she just a non vocalist? Could u name some of the girl group members that are weaker than her?
    Can you give me a brief analysis of this performance? https://www.youtube.com/watch?v=YX0zRjI-DnE
    On the one hand, I’m happy to hear her singing since she didn’t get enough spotlights. But on the other hand, I doubted that this was a lipsync since I have never heard anything better than this from her while her voice in other Sistar’s performance tends to be shaky and lacks in volume . Thank you

    • Hello~ So for the most part when we call someone a “non-vocalist” we don’t mean they’re not even good enough to be a “weak” vocalist, it just means they’re not lead or main vocalists in their groups. It means for the most part, they could be better but they’re not promoted as the main or lead vocalists, so they shouldn’t be judged by the same standards. Dasom is surely a weak vocalist, she has a thin, light, airy, nasal voice caused by an underdevelopment of her mixed voice and overall muscles. This causes her sound to be small and the tension in her throat causes her to sound even tighter and weaker. That’s what I’m hearing on this performance, she sounds tight, thin and pinched. When Hongki went up to sing in the same octave as her, he drowned her out almost completely. Weaker than her? I’m not sure, when people are weak I just let them be weak, Jiyeon, Dara, Yoona…they’re all weak and I can’t say one is weaker or less weak than the other really. Hyeri of Girl’s Day might be weaker cause she can’t really sing in pitch even, if this is live and therefore showcases her ability to sing in pitch.

  17. Please tell me, is Junghwa’s voice really that bad. Everyone is saying that her voice is really really bad, but I like her voice lol. I need to have an opinion from professionals.

    • Her voice is not bad, I don’t believe anybody has truly a bad voice. I think bad habits in people’s singing technique cause them not to sound as pleasant and thus sound “bad” but it’s not their voices, it’s their lack of vocal development. Junghwa just has a very weak voice due to underdeveloped vocal muscles, her vocal cords don’t often come together well enough and so she often sounds airy, quiet and powerless. She doesn’t sing with true breath support and so she’s unable to sing with a connected full sound in her voice, she is a very weak vocalist for having very underdeveloped muscles that were never truly explored in her singing.

    • Yknow I’ve heard about G.E.M. but I didn’t know what she looked like. She looks like she’s a child, she’s cute lol Anyway about her singing… If she were to be as good as Ailee, she’d need to be able to produce consistent resonance up to at least E5, have a connected lower range with some support and a connected resonant head voice. 0:57 that Bb4 was placed her nose, she had a high larynx and was pushing the C#5’s in the chorus, she sounded tight. 1:14 too much tongue. She is nowhere near Ailee from what I’m hearing. Part of the nasality and tongue tension come from her trying to emulate the English language without being fluent in it. She’s not even Above Average from this performance.

      • I’m not an expert here but I think I’ve learned enough from this amazing site to say something about her. I’m actually a big fan of her and is really familiar with her singing. I would say her mix has actually deteriorated since her time on I’m a Singer, based on her 2015 performances. She is starting to strain even earlier and is more pitchy, although I’m a Singer probably did pitch correction anyway. She also projects very frequently through her nose. However she has shown really good, and pretty consistent head voice. I still really like her singing and music though.

      • I stopped watching after the first note with the shrill overly fast vibrato. It was a slide from C5 to D5, all in her throat, just yelled. I’m sorry, this is C-pop and we focus on K-pop only. We just don’t have the time. I apologize for that.

      • Hmm or maybe if she is singing in her native language it will help you better judge her vocals? o.o
        Start at around 2:35 for her high notes and going from high to low and high to low after that?

      • Again she is straining everything in that section of the song, I’m not even sure I’d say she supports B4. She’s an average vocalist.

      • @Mike really? what would you rank her as a vocalist? Btw, I know her because one of my chinese friend is crazy over her lol and could literally sing her songs for 30minute without rest at karaoke :S

    • 0:27 that Eb4 was soft, not that pushed actually. 0:34 Jungkook’s Eb4’s wasn’t that bad. V’s vocal cords sound more connected than Jungkook’s and Jimin’s, he’s less airy than them. Jimin has more tension in his tongue when he sings but that’s not news to me. 0:55 the Eb4’s sound too airy and they’re flat. 1:01 thin and shallow, not that bad for Jin. Good dancing, nice choreo actually. Lots of falsetto for Jungkook, airy, but the transitions aren’t bad. 1:20 G#4’s and then Bb4’s…that’s the loudest I’ve ever heard Jimin sing in his mix, it was loud…but pushed, with a high larynx…tight throat, very yelled out. 2:12 the F#4’s sound thin, squeezed, he isn’t breathing well. He may be running out of breath when singing these, 2:23 pitchy, 2:28 pitchy, he is kind of pitchy but he is dancing and singing so I won’t judge his breathing too hard on this specific performance. Although this isn’t a new issue for him. 2:48 Jimin sounds thin, he is taking overly accentuated breaths. Okay everyone is running out of breath singing this, they all sound exhausted, it’s not fair to judge them cause they’re singing live while dancing and this won’t tell me how good their vocal technique is, it will tell me how good their ability to sing and dance at the same time is …and so for, it isn’t very good. 4:10 G4 strained 4:12 G#4 strained.

      • Thanks for analyzing this. I wanted to see if they had much stamina and see if they actually did as I thought. I honestly think it’s unfair to call someone a bad vocalist if they’re dancing because dancing while stable doesn’t make someone a good vocalist. The only part that I really noticed was off @2:28 which kinda took me by surprise because even though he’s not a great vocalist, I didn’t expect that. . Again, thanks Ahmin.

  18. ahmin have you seen This? what do You think Overall i’m more interested By YEUNJUNG at 0:19 She is trainee In starship

    • They all sound tight to me… Shallow support….dancing while singing is not fair for me to judge. I’m not interested in watching this until they become a group and debut.

    • She has a lot of tension. Tongue tension specially, her placement is much more in the back of the throat, her voice doesn’t project much. She’s light, a bit airy as she descends in range. She reminds me of APink’s Namjoo. I don’t know if I’d say she did better, Sooyoung is shaky and her vibrato wobbly, her placement is better, but neither of them are truly support so to me none of them are doing well enough to be better than one another.

    • In the solo, let me check. 0:18 quick G#3, nicely phrased A3’s. All very present and supported, nice fulness and projection in her chest voice in that area of her voice. She didn’t really descend below A3 throughout, she stayed there with very good stability, pitch, support and control. The pre-chorus kicks in and the only thing I noticed was 1:08 she was flat there. The chorus kicks in and she was mostly doing pretty well, good support, slightly breaking her voice here and there which I’m assuming comes from her going for fragility in her vocal approach. 2:05 another nice G#3, very quick though. She is doing well throughout the verse, maybe slightly flat in one other section. 2:53 supported Bb4 in a closed vowel. 2:58 onward nicely phrased B4’s, a bit nasal due to the M consonants she was singing. 3:10 that was nice, that Bb4. 3:17 C#5’s throughout the chorus, she sounds pretty nice, supported. 3:30 tight there, she sounds like she’s running out of stamina. 3:36 F5 strained but also thinner than usual for her, she sounds tired up there. 4:05 again tight and crackly, she sounds tired up there but that’s high anyway and she doesn’t support above C#5 anyway. G#3 ~ C#5 nice though.

      0:28 Huh Gak’s D3 wasn’t bad. 1:04 pushing on the G4. 1:14 the placement isn’t bad but there’s too much going on in his throat. 2:18 her voice got really soft on the F#3’s and the E3, I’m interested in this kind of range for her because she tends to not showcase her voice below G#3 often. 2:54 slightly falsetto but not bad at all! 3:23 the B4 into C5 was really nice, really good slide, crescendo and overall support there. Him, not so much..it was too high for him. 3:34 F5, high larynx but everything else was nice.

    • This has been answered before, he did really nicely. He was singing not too high, very well within his supported range but he was pushing his voice out with his throat even though his placement was great, on some of the F#4’s. Most likely due to vocal fatigue, he sounded tired. The range? I believe it’s like Eb3 ~ Eb5? Or something like that. E3 ~ D5? It’s really high.

    • In the solo, let me check. 0:18 quick G#3, nicely phrased A3’s. All very present and supported, nice fulness and projection in her chest voice in that area of her voice. She didn’t really descend below A3 throughout, she stayed there with very good stability, pitch, support and control. The pre-chorus kicks in and the only thing I noticed was 1:08 she was flat there. The chorus kicks in and she was mostly doing pretty well, good support, slightly breaking her voice here and there which I’m assuming comes from her going for fragility in her vocal approach. 2:05 another nice G#3, very quick though. She is doing well throughout the verse, maybe slightly flat in one other section. 2:53 supported Bb4 in a closed vowel. 2:58 onward nicely phrased B4’s, a bit nasal due to the M consonants she was singing. 3:10 that was nice, that Bb4. 3:17 C#5’s throughout the chorus, she sounds pretty nice, supported. 3:30 tight there, she sounds like she’s running out of stamina. 3:36 F5 strained but also thinner than usual for her, she sounds tired up there. 4:05 again tight and crackly, she sounds tired up there but that’s high anyway and she doesn’t support above C#5 anyway. G#3 ~ C#5 nice though.

      0:28 Huh Gak’s D3 wasn’t bad. 1:04 pushing on the G4. 1:14 the placement isn’t bad but there’s too much going on in his throat. 2:18 her voice got really soft on the F#3’s and the E3, I’m interested in this kind of range for her because she tends to not showcase her voice below G#3 often. 2:54 slightly falsetto but not bad at all! 3:23 the B4 into C5 was really nice, really good slide, crescendo and overall support there. Him, not so much..it was too high for him. 3:34 F5, high larynx but everything else was nice.

  19. Hi admins!
    AoA Cream just debuted and now AoA’s second and third vocalist (Yuna and Hyejeong) are part of the unit. Was the note at 3:18 well placed? I think it kinda sounds strained but it sounds loud too…

    and since you prefer to watch perfomances where they aren’t dancing, how did they do here?
    I think Yuna and Hyejeong’s support are kinda shallow but Hyejeong is more airy than Yuna. Would you say Yuna is better?

    Sorry for all these questions!
    Thank you in advance!!!

    • That D5 was just shouted. Yuna and Hyejeong don’t support Bb4 or C5, they both sound shallow and thinned out. Hyejeong is indeed airier, Yuna is more connected and controlled but they’re both tight. Hyejeong just sounds tighter. They’re probably both weak vocalists. Yuna may be weak to average.

    • She did fairly well actually. She has pretty decent support her singing was very smooth and connected also her pitch was fairly spot on. She issues with maintaining an open and full sound and that’s mainly because she singing with a lowered soft palate therefore restricting how open and full her sound can be, but the support was there.

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