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
  • 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

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

857 thoughts on “About & Our Criteria

  1. Can you analyse miss A?

    Suzy. Latest performance.

    Min. Latest performance

    Fei and Jia. Not so latest

    Thank you in advance

    If you want more videos for analysis, feel free to ask me.

    • They’re not really vocalists, so I wouldn’t analyze all 4 of them at all. They’re more of a dance group, of course at least one or two of their members should be analyzed. In our “Future Projects” page we have Fei and Suzy, if that’s okay. Thank you for the videos! You can provide more if you like.

  2. additionally,which male singers are great or excellent vocalist ? Do you know any other ? I have many qustions for you but every day ıcan ask tow or three questions :D.

  3. Can you analyze Solji (EXID), Sung Si Kyung, IU, Amber (fx), Seo Tae Ji, Minah (Girls Day), Choa (AOA), Youngjae and JB (GOT7)? :)

    • How is it underrated? I mean it’s Son Seungyeon, so it being pretty good is probably expected. Her musicality is really nice, her overall use of dynamics just adds so much more to the song and makes the overall delivery of the song so much more appealing. Her timing is also very remarkable, she has very good articulation overall in the faster and slower lines. The overall support and resonance was everywhere from A3 ~ E5, even on the one F#5 that she hit as well! ^ ^ The A5 at the end, a bit tense but not bad considering it’s A5.

    • I have heard them, Kei I believe was their best vocalist, Baby soul has some good moments, Jin is not that impressive. They’re all average, at best.

    • Her pitch was good, her dynamics were beautiful. It’s too classical for me to tell if she’s doing anything that’s classically incorrect, the one thing I noticed was her using her tongue for the vibrato constantly, now that isn’t right. Apart from that, it was pretty nice to my non-classical ears.

    • He has a beautiful tone and a beautiful vibrato! His G4’s sound pretty good, his tone is really really beautiful and so is his pitch, tone production and overall sound. His Bb4’s didn’t sound bad either, I wish the video quality wasn’t bad, is he going viral? He sounds beautiful.

      • Yeah he is going viral. Here in the Philippines they have lots of talented singers. But it’s so sad because introduced Regine Velasquez as Leader singers to foreigners.

      • The Philippines is full of talent but many of the bad vocalists from there are praised instead of the good ones.

    • Not at all, he strains a good amount of his range. He has good sense of rhythm I believe, but he’s far from being good from what I’ve heard.

      • oh !! thank you ^^ then which is the rating bruno mars ?
        can you tell me a vocalist of kpop that is similar to bruno , I mean with similar techniques or a similar rating
        and sorry for my english
        thanks again

      • Sadly, I’m sorry but I can’t. I am not nearly familiar enough with him to be able to tell you specifically how good he is.

    • She’s almost kind of nasal and this is kind of a very folk-sounding chinese piece. It’s hard for me to judge how proper and accurate the style of music what she’s doing is. Her head voice sounds pretty nice. She seems to be very in control of her instrument when doing her runs and her little voice cracks, it’s musically accurate as far as I am a aware so I can’t say much about it. She sounds tight sometimes when she doesnt switch to head voice but I can’t tell how much that is done on purpose.

  4. Can you also analyze this Tibetan singer as well? I find that some Tibetan folk singers such as this one sings with a interesting technique to transition between notes that I usually don’t hear in other singers. The vibrato at 3:29 is very unique as well. Many Tibetan fold singers also sound very nasal but still sound resonant to me. Is it possible to be nasal and resonant at the same time?

    • I don’t find this nasal, instead I just find it almost screamy in a way. She’s in control of her instrument, again I am not a folk singer from Tibet nor China, I can’t really judge what’s proper and what isn’t. I can tell you a lot of the style is very throat-based but it’s part of the style, folk. 3:25 sounds very strained, but can I say that’s wrong? Nope, I can’t. That was a very laryngeal backwards vibrato, instead of going down slightly in pitch, she was going up in pitch.

      • I do not know, I don’t know their vocalists, only Dia and she’s the only one I had plans to analyze.

      • Can you analyse Lee Hae Na and Soyumi? They are both the vocalists of Kiss And Cry, Yumi is the one with black hair, Haena is the brunette that belts those notes. What about Bohye, she is the rapper ^^ A brief insight will do, thanks so much for paying some attention to Narae and Jerry.

      • Yes Soyumi was part of a previous girl group before it’s disbandment, she is now making a solo debut. Lee Haena participated in the 6th Season of Superstar K, she ended up landing herself in the top ten.

      • Soyumi didn’t sing in the video. Her C#5’s in Girl on Fire were all so throat-based and pushed, even though her placement wasn’t bad. My Singing Got Better was better but she was mostly just singing B4’s, the E5 wasn’t bad. I’ll keep her in mind.

      • I don’t believe they’re better as a whole, Dia is better than Mamamoo. Dia is resonant on D5’s easily yes, she was more resonant. Dia is at least a competent vocalist. Haena was straining most of her high notes, she sounded like Christina actually. Dia’s G5 wasn’t that bad but it wasn’t good.

    • Yoseob can definitely support C#3 @0:46, I’m relieved to hear that. I’ll need to use this performance for his low notes. 1:58 nicely supported G#4, Yoseob does quite well as an Above Average vocalist, he’s probably one of the higher Above Average vocalists.
      As for Dongwoon, isn’t Kikwang supposed to be 3rd best vocalist in B2ST? 0:17 ~ 0:42 he sounds generally weak, nasal, lacks projection and his tone is overall flat sounding. Compare him to Yoseob when Yoseob starts singing the verse, Yoseob has a much fuller tone, more chest-resonance and quality to his singing, a more supported, in pitch sound and not to mention better placement and no nasality. Then you go back to Dongwoon from 1:13 ~ 1:31, all he’s got is volume because he is relying very heavily on his throat and not supporting his voice properly at all. He sounds very throaty, tense and nasal for the most part. Even his F#4’s sound very tense and pushed. I’m not familiar with how Kikwang sings but if he knows how to at least half-support his voice, he is already better than Dongwoon. Dongwoon would be likely classified as a weak vocalist.

      • WOAA! Really!? Cause many people said dongwoon really good at singing now. And when i saw comments on youtube about dongwoon. Many people praised him. Even some people said, that he is par with yoseob. Wow.. Okay, once again, new information for me. Thank you
        And nice to hear that i could help you. So, do you need anything else? Another video? I can search it for you if you want. I have many yoseob video :)

      • You can’t just listen to random comments from fangirls. ._. Just because a lot of fangirls are fangirling it doesn’t mean it’s true. Well for now no, but if you can find a video where Yoseob sings low, I’d be happy. (Excluding their low note battle video)

      • Halo ahmin.. i’m back. Here some video. I,m sorry, just find two videos, better than nothing i think :)

        Yoseob ft eunji perf’, around 00:00 – 00:40

        Yoseob ft dongwoon again, around 00:29 – 00:53 and 01:22 – 01:50
        The last one, just my favorite video of yoseob, sunggu, and youngjae. Maybe you already saw this

        what your opinion about them, they are good? thank you

      • Haha thank you for these! I’ll use them well and yes I’ve already heard ¡Corre! lol 0:42 on the duet with Dongwoon, nice D3~ Yoseob’s low notes make me happy haha Dongwoon’s singing makes me sad on the other hand. Yoseob’s lines were within his supported range, he had some nice G4’s as well there ^ ^ 0:15 D3 with support in When I First Saw You~ Along with a couple of other supported D3’s. 1:55 resonant F#4, again 1:59 but the rain wasn’t good. 2:16 tense A4 for him.

      • Ah forgot.. As long as i follow beast, i never saw them battle low notes, just high notes. That was a long time ago. 2010. And i believe you already seen them, cause i saw your comment there hehe

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