at peak she might have B5/C6 but her good C6s are too limited, like the only one that comes to my head is that in lean on me. It's too little to give her a semi-consistency
@@minakanushi0099 Supported range limits are not the highest or lowest notes that the singer sings on a regular basis with support, it's the notes we can reasonably infer them to be able to consistently sing with support based on the whole context, because singers don't care to uphold a specific vocal range for some CZcams fans. That means, just because she's hit C6 a few times, doesn't mean she has to keep doing it to appease an audience who sits and measures the notes she sings. The only reason she has so many B5s is because of Lean On Me. If she hadn't sung that song, we'd have very few B5s from her, but that doesn't mean she couldn't consistently support it. If she has sung for example 60 B5s in 10 years, and only 10 C6s but they're all supported, you have no reason to assume she can't consistently support C6.
@@tty5317 that's your mind. I'd say belting technique can't be free. There's a thing called necessary tension to create a loud voice which is compulsory. I agree this G#5 is tense but it's still free enough to be a good note imo
@@ilovehighnote Singing is a muscular function. The Intrinsic muscles of the larynx. 60 odd muscles, manipulate the vocal cords to produce pitch, and intensity. etc. I know singing projection is a matter of air support and level of tension, especially the belting technique requires a relatively high projection. Just like Sohyang couldn't projection as much as Patti because she uses lessglottic tension in her singing I really don't agree, that note isn't good enough and might be bad for me, even if she isn't squeezing spirals because she doesn't take a lighter approach but she still suffers from unnecessary tension.
@@ilovehighnote I am not going to comment on Nida's high note but I absolutely agree with what you said about belting. Belting is such a vigorous vocal production and to demand it to be "free of tension" sounds funny to me.
@@allykelly I'm going to be honest with you, I very much disagree about Lena😅 her voice is very confusing to me, sounding very uncontrolled in most of the performances I've watched (they were recent) while Eunji has a better vibrato and control overall than her for example. I do not listen to them on a regular basis fyi, this is just my opinion after watching a few videos
@@sohyangedits1599 I'm with you. They had similar development on D5/Eb5(E5) but Eunji seem to have better vowel and consistency to me. Lena's timbre doesn't effect her questionable sound with laggy vibrato, growling & rasp
@@sohyangedits1599 Lena's voice is inherently brighter and smaller than Eunji who is a mid soprano so about vibrato I do agree that Eunji has it better
@@tty5317Yes. [Nida] doesn't know how to sing technically at all. [LENA PARK, KIM YEONJI ] use a twang, which is a tightening and tensing of the larynx, as the basis of their vocalisation. They experience resonance when they sing, but they have to tense up and strain their throats. Their sound is rigid and closed. [ YUN SUNG, LINA, LEE YOUNG HYUN, OCK JOO HYUN, SON SEUNG YEON, LEE SUN HEE ] have an open sound with some vowels in the low, middle, and high notes. But they can't sing open on very high notes, they sing with twang. They can't sing in one way, one position, so the chest voice and head voice have different resonance positions. Some of them can't keep the resonance position, so they sing in falsetto instead of head voice. In what is thought to be the headvoice, the position is too high or missing, so there is no resonant sound and the legato between the chest voice and headvoice is not natural. Overall, they experience a resonant sound, but do not have a good understanding of the process of creating a resonant sound. [SOHYANG] has a complete understanding of open sound. She understands the essence of open sound better than classical singers such as sopranos and tenors. (The sound should be covered, but they tend to overcover the sound and sing with a rigid posture.) She sings with an open sound on all vowels, and she sings with pure resonance, without tension to the point that it doesn't feel like chest voice. She sings in one position, one way, on every vowel and every note, in both chest voice and head voice, so she has natural transitions, natural dynamics, natural legato. In order to sing open, she sings open on low notes, and when she sings low notes, she sings them in the same resonant position as the high notes. This is not a phonation issue, but rather, singing closed on low notes does not protect the vocal folds and larynx, can be tiring to sing for long periods of time, and creates a disparity between low and middle notes. No matter how it sounds on record, in reality, an open sound is more powerful than a closed sound because it is a well-resonated sound.
@@tty5317These few samples of Koreans just happen to include Sohyang. There are many people on the planet who sing as well as Sohyang, and who have done so in the past. If they were included in these few samples, I would praise them at the same level as Sohyang. If you rate my comments as very wrong, please explain in a technical and professional manner what you think is wrong. I don't evaluate the sound, I evaluate the vocalisation and the process of making the voice. A lot of people on CZcams rate SoHyang's sound, but nobody can produce a voice like SoHyang's. That's the difference between evaluating sound and evaluating vocalisation. A lot of people can't tell the difference between effects on a microphone, mixed on a console, and distorted on a recorder from the real thing. So it's very inaccurate to define that sound just by listening to what's being broadcast on CZcams.
@@raecea I don't blame you or anyone else for placing Sohyang as one of the best contemporary singers of this generation, but you exaggerate her technique and look down on other singers. You talk like Sohyang voice is flawless and criticize other singers for using twang when in fact Sohyang sing with twang more than necessary lol. Fact, twang is associated with a larger vertical phase difference and a higher MFDR - two scientific measures of "chestiness". Sohyang and resonance are just the cult of sohyang stand. Sohyang doesn't have as huge resonance as Lee Sunhee, even in the mid range she can't beat people like Ock Joohyun, Lina, SSY, Yeonji.
@@jinji4609yep, even when she 'overbrightened' her timbre often in chest voice, I don't think I ever heard her sound THAT bright, waif-like and smol to the oblivion in the same way as lena park and prime regine or many other genuine high sopranos (who all tend to share exactly similar timbral quality with child treble even as early in upper 4th octave and the fact they still retain alot of qualitative ease even after squeeze the heck out of their voice is just impressive, cool and unbelievable. If anything, yeonji is what I would put in same class with lina (however, 'light' soprano isn't supremely the best choicd of word to accomodate the true intention of their own respective class. It supposed to 'mid' (which mean here is that they deserve to earn the same spot as op's edition/ personal standpoint of mid soprano (which is type of soprano that's publicly accepted to be the mid soprano instead of combined together with the other version of mid soprano if refuse to find other different cute terms to establish more reliable, fixed soprano classification as well as to emphasize the identity of this neither light not heavy/mid soprano to deeper level)
if anyone think of high soprano as voice that's akin to prime lee sun hee (who emerge somewhere in this vid. Just skip to final part of the vid to see her sing her powerful miraculous and fantastic vocal skill), then I'd made myself very clear/cautious (and even try to loosely spread minimal warning) that sohyang and yunsung aren't high sopranos in the sense of words (different words, different meaning in this context becuz when these 'media platforms addicted' people mention high soprano, some of them actually think of brightest smallest possible type of soprano (like winter aespa, prime teena maria, lashun pace, early sandi patty, lyka estrella, francine jones, lena park, desiree coleman, sieun stayc for good instance) that already went through vocal puberty (which is why alot of younger artists's voice type shouldn't taken into account way too easily. Just prioritize over people who has gone through it/about to complete the temporary cycle. This can also apply to any young adults with heavier voice type, not just to disperse the difference of lighter soprano from each other) rather than typical light soprano (which is what this channel validate as high soprano which can cause unsettling misconception to some folks since they have different self-made terminology pattern) especially sohyang's case. If anything, sohyang is just as similar to Lina's in terms of natural timbre and density in the voice for sure except that choose to sing much lighter and thin her voice out alot but her density which is not fully tethered by her soft dynamics is suffice to comfortably rule her out from high soprano territory. On the other hand, yunsung is the light soprano (but this channel introduce the name as high soprano while simultaneously put the regular-sized soprano as light soprano when many people agreed that the 'light' soprano is the mid-sized one, not the other one that we need to stick with currently (they're meant to be refered as big voiced soprano essentially) and don't need to talk about how her timbre, approach and ease on high notes impacted her voice type since that's what mostly proves she's pretty much just that (as far as I'm aware)
I am often at odds with the idea of putting a "free range" on Lena because her vocal production is literally singing on compression. Not that it is a bad thing; it is her style which gives her this signature youthful girly tone.
@@tty5317 Let's agree to disagree, then. From what I know, she is consistently singing on compression. She has done this since 2002, or possibly earlier, though she did not do this at her debut. Edit: not 2002, but 2004.
I agree with not including Younghyun and Seungyeon. Their head voices are pretty weak. Yeonji's G#3s are mostly fine. Same with Lina's E5s. Lee Sunhee is amazing.
I don't think sonnet hv is weak it's just okay sonnet has some pretty solid G5 sustained and A5. Agree with Yeonji as for Lina I wish we would get more materials from her. Lee Sun Hee is practically Korean belting empress her chest development is wow
@@allykellyI find it kinda strange with yeonji's lows only sounded really nice down to A3 when flexin em in musical purpose when she literally have no problem keep certain intonation and clarity as low as d3 in speech or unintentional vocalization or random a capella.
1:37 pulled larynx, constricted
putting sohyang's consistent free/support/whatever range up to B5 only is sinful
I'd say she had B5/C6 at peak but the quantity of her good C6s is only 3 (included Dream 2014), too little to give her semi-consistency
at peak she might have B5/C6 but her good C6s are too limited, like the only one that comes to my head is that in lean on me. It's too little to give her a semi-consistency
@@ilovehighnote there was a recent C6 in an Upon This Rock rehearsal, I'd say that one may be arguable, but indeed you have a point.
I think it’s fair. She has C6 but she doesn’t go for it often. B5 is far more realistic.
@@minakanushi0099 Supported range limits are not the highest or lowest notes that the singer sings on a regular basis with support, it's the notes we can reasonably infer them to be able to consistently sing with support based on the whole context, because singers don't care to uphold a specific vocal range for some CZcams fans.
That means, just because she's hit C6 a few times, doesn't mean she has to keep doing it to appease an audience who sits and measures the notes she sings. The only reason she has so many B5s is because of Lean On Me. If she hadn't sung that song, we'd have very few B5s from her, but that doesn't mean she couldn't consistently support it.
If she has sung for example 60 B5s in 10 years, and only 10 C6s but they're all supported, you have no reason to assume she can't consistently support C6.
Younghyun is underrated
She has goat vibrato syndrome
1:36 Not free enough
1:29 I think you overestimate it. When she didn't have a microphone, I can hardly hear anything good.
you don't need to have too much vocal freedom when belting that high
@@tty5317 that's your mind. I'd say belting technique can't be free. There's a thing called necessary tension to create a loud voice which is compulsory. I agree this G#5 is tense but it's still free enough to be a good note imo
@@ilovehighnote Singing is a muscular function. The Intrinsic muscles of the larynx. 60 odd muscles, manipulate the vocal cords to produce pitch, and intensity. etc. I know singing projection is a matter of air support and level of tension, especially the belting technique requires a relatively high projection. Just like Sohyang couldn't projection as much as Patti because she uses lessglottic tension in her singing
I really don't agree, that note isn't good enough and might be bad for me, even if she isn't squeezing spirals because she doesn't take a lighter approach but she still suffers from unnecessary tension.
@@ilovehighnote I am not going to comment on Nida's high note but I absolutely agree with what you said about belting. Belting is such a vigorous vocal production and to demand it to be "free of tension" sounds funny to me.
I think Eunji deserves to be here too tbh
She's kind of below lena. Some stronger vocalists like Hyolyn, uji Luna aren't even here
@@allykelly I'm going to be honest with you, I very much disagree about Lena😅 her voice is very confusing to me, sounding very uncontrolled in most of the performances I've watched (they were recent) while Eunji has a better vibrato and control overall than her for example. I do not listen to them on a regular basis fyi, this is just my opinion after watching a few videos
@@sohyangedits1599 I'm with you. They had similar development on D5/Eb5(E5) but Eunji seem to have better vowel and consistency to me.
Lena's timbre doesn't effect her questionable sound with laggy vibrato, growling & rasp
@@sohyangedits1599 Lena's voice is inherently brighter and smaller than Eunji who is a mid soprano so about vibrato I do agree that Eunji has it better
Lee hae ri also a good soprano vocalist
Lina's headvoice in Maria is a G#5 with wide vibrato. She had better A5 in her vocal range video tho
Her A5s are rare
Closed sounding, doesn't know how to sing with resonance, larynx pushed out
= [ NIDA ]
I agree about Nida, she never uses proper resonance but other than that it's quite wrong.
@@tty5317Yes. [Nida] doesn't know how to sing technically at all.
[LENA PARK, KIM YEONJI ] use a twang, which is a tightening and tensing of the larynx, as the basis of their vocalisation. They experience resonance when they sing, but they have to tense up and strain their throats. Their sound is rigid and closed.
[ YUN SUNG, LINA, LEE YOUNG HYUN, OCK JOO HYUN, SON SEUNG YEON, LEE SUN HEE ] have an open sound with some vowels in the low, middle, and high notes. But they can't sing open on very high notes, they sing with twang. They can't sing in one way, one position, so the chest voice and head voice have different resonance positions. Some of them can't keep the resonance position, so they sing in falsetto instead of head voice. In what is thought to be the headvoice, the position is too high or missing, so there is no resonant sound and the legato between the chest voice and headvoice is not natural.
Overall, they experience a resonant sound, but do not have a good understanding of the process of creating a resonant sound.
[SOHYANG] has a complete understanding of open sound. She understands the essence of open sound better than classical singers such as sopranos and tenors. (The sound should be covered, but they tend to overcover the sound and sing with a rigid posture.)
She sings with an open sound on all vowels, and she sings with pure resonance, without tension to the point that it doesn't feel like chest voice. She sings in one position, one way, on every vowel and every note, in both chest voice and head voice, so she has natural transitions, natural dynamics, natural legato. In order to sing open, she sings open on low notes, and when she sings low notes, she sings them in the same resonant position as the high notes. This is not a phonation issue, but rather, singing closed on low notes does not protect the vocal folds and larynx, can be tiring to sing for long periods of time, and creates a disparity between low and middle notes. No matter how it sounds on record, in reality, an open sound is more powerful than a closed sound because it is a well-resonated sound.
@@raecea Very wrong. You overestimate Sohyang.
@@tty5317These few samples of Koreans just happen to include Sohyang.
There are many people on the planet who sing as well as Sohyang, and who have done so in the past.
If they were included in these few samples, I would praise them at the same level as Sohyang.
If you rate my comments as very wrong, please explain in a technical and professional manner what you think is wrong.
I don't evaluate the sound, I evaluate the vocalisation and the process of making the voice.
A lot of people on CZcams rate SoHyang's sound, but nobody can produce a voice like SoHyang's.
That's the difference between evaluating sound and evaluating vocalisation.
A lot of people can't tell the difference between effects on a microphone, mixed on a console, and distorted on a recorder from the real thing.
So it's very inaccurate to define that sound just by listening to what's being broadcast on CZcams.
@@raecea
I don't blame you or anyone else for placing Sohyang as one of the best contemporary singers of this generation, but you exaggerate her technique and look down on other singers. You talk like Sohyang voice is flawless and criticize other singers for using twang when in fact Sohyang sing with twang more than necessary lol.
Fact, twang is associated with a larger vertical phase difference and a higher MFDR - two scientific measures of "chestiness".
Sohyang and resonance are just the cult of sohyang stand. Sohyang doesn't have as huge resonance as Lee Sunhee, even in the mid range she can't beat people like Ock Joohyun, Lina, SSY, Yeonji.
❤❤❤
Where's Ailee??
She's below them
@@allykellyLol and Nida isn’t?
@@SuperPianogirl123 not very familiar with her but based on clips shown she is
I would say Joohyun has Eb5/E5 in belting and Lina will have A3 in Lows
Also I think Yeonji is a High Soprano like Celine
@@resen0901 No, Yeonji is not a High Soprano.
@@resen0901high soprano had thin & childish timbre, not Yeonji for sure
@@jinji4609yep, even when she 'overbrightened' her timbre often in chest voice, I don't think I ever heard her sound THAT bright, waif-like and smol to the oblivion in the same way as lena park and prime regine or many other genuine high sopranos (who all tend to share exactly similar timbral quality with child treble even as early in upper 4th octave and the fact they still retain alot of qualitative ease even after squeeze the heck out of their voice is just impressive, cool and unbelievable. If anything, yeonji is what I would put in same class with lina (however, 'light' soprano isn't supremely the best choicd of word to accomodate the true intention of their own respective class. It supposed to 'mid' (which mean here is that they deserve to earn the same spot as op's edition/ personal standpoint of mid soprano (which is type of soprano that's publicly accepted to be the mid soprano instead of combined together with the other version of mid soprano if refuse to find other different cute terms to establish more reliable, fixed soprano classification as well as to emphasize the identity of this neither light not heavy/mid soprano to deeper level)
if anyone think of high soprano as voice that's akin to prime lee sun hee (who emerge somewhere in this vid. Just skip to final part of the vid to see her sing her powerful miraculous and fantastic vocal skill), then I'd made myself very clear/cautious (and even try to loosely spread minimal warning) that sohyang and yunsung aren't high sopranos in the sense of words (different words, different meaning in this context becuz when these 'media platforms addicted' people mention high soprano, some of them actually think of brightest smallest possible type of soprano (like winter aespa, prime teena maria, lashun pace, early sandi patty, lyka estrella, francine jones, lena park, desiree coleman, sieun stayc for good instance) that already went through vocal puberty (which is why alot of younger artists's voice type shouldn't taken into account way too easily. Just prioritize over people who has gone through it/about to complete the temporary cycle. This can also apply to any young adults with heavier voice type, not just to disperse the difference of lighter soprano from each other) rather than typical light soprano (which is what this channel validate as high soprano which can cause unsettling misconception to some folks since they have different self-made terminology pattern) especially sohyang's case.
If anything, sohyang is just as similar to Lina's in terms of natural timbre and density in the voice for sure except that choose to sing much lighter and thin her voice out alot but her density which is not fully tethered by her soft dynamics is suffice to comfortably rule her out from high soprano territory. On the other hand, yunsung is the light soprano (but this channel introduce the name as high soprano while simultaneously put the regular-sized soprano as light soprano when many people agreed that the 'light' soprano is the mid-sized one, not the other one that we need to stick with currently (they're meant to be refered as big voiced soprano essentially) and don't need to talk about how her timbre, approach and ease on high notes impacted her voice type since that's what mostly proves she's pretty much just that (as far as I'm aware)
Where is Park Ki Young? Or Hyolyn?
Isn't Yun Sung C6 mixed consistant?
Nida Nope!
where's haeri
Isn't Lina have Eb5/E5 in belting?
she has
She rarely sustain E5 in her Musical career but her phrasing is still really good IMO
I am often at odds with the idea of putting a "free range" on Lena because her vocal production is literally singing on compression. Not that it is a bad thing; it is her style which gives her this signature youthful girly tone.
I disagree , Lena continues to show that she can use thyroarytenoid activity instead of medial compression.
@@tty5317 Let's agree to disagree, then. From what I know, she is consistently singing on compression. She has done this since 2002, or possibly earlier, though she did not do this at her debut.
Edit: not 2002, but 2004.
Maybe, her belt note can be somewhat messy & tight despite her strong chest development
I agree with not including Younghyun and Seungyeon. Their head voices are pretty weak.
Yeonji's G#3s are mostly fine. Same with Lina's E5s.
Lee Sunhee is amazing.
I don't think sonnet hv is weak it's just okay sonnet has some pretty solid G5 sustained and A5. Agree with Yeonji as for Lina I wish we would get more materials from her.
Lee Sun Hee is practically Korean belting empress her chest development is wow
@@allykellyI find it kinda strange with yeonji's lows only sounded really nice down to A3 when flexin em in musical purpose when she literally have no problem keep certain intonation and clarity as low as d3 in speech or unintentional vocalization or random a capella.
ủa mà bà, cái màn Ock Joo Hyun hát musical ở đây tên j á, mk kiếm k thấy
When the world was mine, cái màn trong clip luôn thì không có trên CZcams mà tui có reup lại á vô kênh lướt tí thấy
What is this consistent range?