This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.
This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.
The analysis might change according to their latest performance.
If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.
Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.
So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.
The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.
The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.
Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.
How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.
Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound maye still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present.
Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note. A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Hyorin, is able to keep resonance consistently up until E5 or F5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to F#3/G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.
Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.
- All three registers are developed
- Supported as close as possible from their highest to lowest extremities
- Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
- Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
- Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and Bb4 (or higher)
- Within their Voice Type’s tessitura they are consistently resonant
- Complete support in the middle register and lower register
- For females head voice must be completely resonant at will; for males falsetto must be completely supported
- Connection in the voice with no noticeable breaks when transitions are being made
- Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
- Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
- Almost perfect intonation
- Tonality is almost never lost
- Developed registers, but one register may be lacking in development.
- Optimal resonance is achieved on a regular basis.
- Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
- Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
- Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
- Supported is present in all registers, but maybe not to their lowest and highest extremes
- Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
- Connection in the voice with no noticeable breaks
- Agility is present and pitch is controlled with good separation between individual notes
- Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
- Intonation is almost perfect
- Tonality is almost never lost
- One very well developed register or two well developed registers, with the others either being Average or Above Average
- Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
- Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
- Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and G4/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
- 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
- One somewhat developed register with the others being average or weak
- Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
- Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
- Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
- Inconsistent with resonance
- Even in their supported range strain and tension can be present
- Nasality can be present within the voice at times
- Intonation issues can be frequent
- No register is developed considerably well
- Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
- Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
- Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
- Inconsistent with support, and if at all resonance, even if occasional resonance has happened
- Good tonality is not present at all times, nasal placement is normally used
- Frequent intonation issues
- No developed registers
- Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
- Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
- Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
- Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
- Very inconsistent with support, strain,no resonance
- Good tonality is not present
- Out off tune singing is frequent
- No support, not a vocalist basically
FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey and Whitney Houston as amazing/fantastic). They are Great/Good at best.
For further question you can ask the contributors directly at this forum