Bae Suzy Vocal Analysis

Possessing a light girly voice, Jieun lacks in the flexibility department. The voice is not only not ready to do vocal runs, she seems to, for the most part, be aware that she does not have the necessary agility to properly deliver ornamentations in songs. The few times where she was required to do more complex vocal runs in her performances include “희망고문“, where her runs were frequent during the whole of the song but lacked in terms of connection, precision and separation of pitch, sounding sloppy, inaccurate and quite slow. Another case would be her performance of “꿈” where even with the help of consonants to ease the transitions, her adlibs and scoops or slides lacked precision and flexibility.

One of Korea’s debutants on Immortal Song, Jieun was able to showcase her vocal skills first through her debut in Secret, then later through Immortal Song 2 and lastly through her solo debut. Her voice is very girly, almost angelic, with a very delicate quality and would most likely fall under the light lyric soprano fach.

On the low extreme of her range, Jieun has one good advantage that is her ability to consistently produce connected low notes with vocal tone. Almost never is her lower range solely air and she often does take down tone to the lowest of her notes, even her E3’s in “희망고문“. Even then, her voice still lacks proper connection and support below A3, where her voice finds its peak of comfort and connection. Below A3, such as in “별“, where her G3’s and F3’s become quite unclear and lack connection of tone. Her voice becomes unstable and inconsistent below A3.

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In her mixed voice, this is where Jieun’s voice becomes the most stable and consistent. She is generally quite consistent with pitch and does not deviate often. Her mixed range up until Bb4 is consistent with support, stability and tone. Her voice is generally clean in tone, lacks any signs of real raspiness, throatiness or pushing within her supported range. She has the tendency, however, to produce B4’s with either nice and consistent support, such as in”꿈” or at times become rather closed. The difference lies on the vowels used, such as the “(애) Aye” and “(아) Ah” vowels, where her voice is opened, as opposed to “(오) Oh” and “(우) Oo” where her voice becomes more tight in closed, such as in her performances of “쳐다보지마“. Whenever Jieun ascends above B4, though. Her voice becomes a bit more pushed and whiny, such as her C5’s in “희망고문” and “Vintage“, her C#5’s in “Run To You” and “이젠“, and her D5’s in “Beauty and The Beast“. Her voice gets specially more constricted as she ascends into E5’s and above, such as in “희망고문” and Eb5’s in “예쁜나이25살“. Her mixed range is, however, quite heady, so the strain in minimal since there’s not that much pressure on her vocal cords caused by an excessively heavy usage of belting and chest voice, allowing her to sing in this healthier manner even if the swallowing muscles in the back of her throat tend to close and cause sound to become small, constricted and unprojected.

Her falsetto range is generally quite airy and does not show much connection to her mixed voice. It becomes overly airy and does not project as well as desirable. In songs, such as “별“, her falsetto almost disappears into the microphone, although at other times she’s able to produce a healthier and more connected head voice, generally on notes as low as B4 and C5, or at times it can extend up to Eb5, but with a bit of tension and a whiny quality, like in “희망고문“. Even then, her voice lacks the control and support to stay in a high range without losing such power.

Musically speaking, Jieun has got one of the weakest voices amongst main vocalists in K-pop. Not only does she strain in a relatively low range for a Soprano, but her voice simply has almost no difference in dynamics. Due to the balance in her mix being overly heady, she tends to not be able to put any power into her singing, often sounding small, light and overly fragile all the time. Although not a power house, when sustained belts are needed, her voice still lacks resonance and a clean healthy vibrato, which don’t come due to the lack of support and nasality present in her voice. Her soft palate generally stays low and her voice sounds like it has only one color, not ever changing dynamics or showing control for onsets. Examples include her performance of “친구라는 건” and “회상III“, where her support exists, but whenever she tries to add more power, her voice sounds small and constricted, as if being pushed over the edge without the proper muscle strength to handle stronger passages.

Min's Vocal Analysis

As the main vocalist of K-pop girl group, Secret, Jieun sadly falls short when it comes to vocal technique development over the years. Throughout the years, little to no difference was seen in Jieun’s vocal ability and improvement. Her vocals still lack power, control and resonance. For the future, working on her support, lifting her soft palate and creating a better balance between chest and head voice to properly develop the CT and TA muscles would be the way for her to further develop her voice, to create more dynamics and to further develop her mixed voice.

Jieun is a very safe vocalist, who’s very aware of her voice and where it stands. She doesn’t try to often sing out of her comfort zone, when given the choice. She generally has very limited musicianship but uses it to her advantage when in need of change for a song, so that she can make songs easier for herself. A song that would be slightly challenging, like Unfaithful, which descends down to F3, becomes easier when she limits the line and goes down only as low as Bb3 instead, staying in key but also keeping her voice projected. For the most part, the voice is quite limited and lacks any skill to actually be able to change songs for reasons beyond her limited technique, therefore she lacks the ability to actually change music for the music, as opposed to making things easier on herself.Min as a vocalist is far from being an R&B or show offy vocalist. She generally sticks to a limited amount of range and skill and shows off more on the dancing aspect of her vocal performances. When given the chance, she shows that she isn’t one to try and sing things she isn’t capable of, such as vocal runs. When approaching vocal runs, Min sounds like a beginner who is very conscious of what she’s doing. She sings vocal runs slowly, note by note and carefully in order to hit every single note with accuracy, even if then causing the runs to become robotic and lack smoothness, such as in “Poison” and “Stuck“. When attempting faster vocal runs, however, it is possible to hear that Min lacks the proper note separation, support, muscle memory and control necessary to create smooth, accurate and faster vocal runs, such as in “Take A Bow“, “Stickwitu” and “Stuck“.

Debuting as a JYP artist after years of training as a member of Miss A in 2010, Min is the perhaps best known for her personality and powerful dancing, more so than her singing. She has, however, been given more highlight as a lead vocalist of Miss A this year, as so announced in “King Of Mask Singer (복면가왕)” and “Go All The Way (끝까지 간다)”. As it so turns out, Miss A isn’t a vocally focused group and for the most part without any official main nor lead vocalists roles. As a dance group, the actual average skill of the vocalists, even including the rapper Jia, is quite close together. However, when putting each vocalist against one another, it is possible to hear differences that make Min the member of Miss A with the strongest vocal technique, even if by very little. Min’s voice may be narrow in range, but she is able to produce tone with a light bright sound and a girly voice, most notably shining with her range in a Soprano range, even if that range may still be underdeveloped.

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Her lower range isn’t quite so developed but she is able to produce enough support and connect her lower range well enough to produce tone even below her supported range. Her support is mostly more stable and present when singing in a range that extends down to A3 and Bb3, such as in “Poison“, where she’s able to keep a connected sense of support and pitch without issues with keeping a legato line. Below A3 however, Min shows issues with keeping a well connected smooth legato line, with instability in tone and less present support, such as the G#3 in “Take A Bow“. Even though support below A3 isn’t present, she’s still able to carry tone below A3 with a decent amount of projection and projection, such as in

Her lower range isn’t quite so developed but she is able to produce enough support and connect her lower range well enough to produce tone even below her supported range. Her support is mostly more stable and present when singing in a range that extends down to A3 and Bb3, such as in “Poison“, where she’s able to keep a connected sense of support and pitch without issues with keeping a legato line. Below A3 however, Min shows issues with keeping a well connected smooth legato line, with instability in tone and less present support, such as the G#3 in “Take A Bow“. Even though support below A3 isn’t present, she’s still able to carry tone below A3 with a decent amount of projection and projection, such as in