Her recent concert was very good. The F#5s in “Twinkle” proved to be incredibly difficult for her; not only were they were the strained, but also many of them fell flat because she did not have vocal stamina for them. Is she still proficient or has she regressed/improved her technique? Wow. But taeyeon tho. The most noticeable piece is “Check” from Girls’ Generation’s Party single which is filled with numeous runs from Taeyeon, similarly “Bump It” from the Lion Heart album also features many runs from TaeYeon as do many of the songs from that album. ( Log Out /  Mixed register: Taeyeon has consistent support up to C#5/D5 and consistent resonance up to C5/C#5. Taeyeon’s mixed voice above C#5 was very underdeveloped which was why during that time period she did not have many high notes above Eb5. 3.48 3.56 4.08 does Taeyeon have any improvement ? At the beginning of her career, Taeyeon had considerable development up to C5/C#5 accompanied by a strong, forward, and resonant sound within that range. Prior to 2012 Taeyeon had no studio recorded or live F#5s. Just wondering, how is she compared to Ailee? The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate… I think it's completely ridiculous that people think it's ok to copy and paste without informing the original people who put hard work into what they do. Maybe that clip is somewhere in twitter? (or maybe in other songs? 1,210 thoughts on “ Girls’ Generation’s Vocal Analysis: Taeyeon [Newly Updated] ” Najwa says: December 25, 2015 at 12:09 am. imo raina is more grounded and control better her mix. You talked about subjective aspects of singing such as emotions and how you want to hear her sing UR live. Cuz its tone sounds very full to me. Taeyeon is literally at least 2 level above other snsd vocal member. “Twinkle“, the leading track, required Taeyeon to sing F#5s in every performance. Lee, who is now 20, is best known as a member of the South Korean boy group NCT and its subunits NCT U and NCT 127, and formerly NCT Dream. what’s note that she’s hitting at 3.08? Was it supported/resonant? Hey, I think I have already asked about this but I can’t seem to find my comment nor an answer so I’ll just leave it here and wait for a reply…. Or below? Those F#5s mirrored the quality of the F#5s of “Twinkle”:strained, pushed and flat. https://www.youtube.com/watch?v=caDlx3YCG0c I know it was 6 months ago but could anyone give opions on her D5 at 3:39? Similarly to what happened in her mixed register, Taeyeon’s lower register has improved significantly over the years, expanding from A3/Bb3 to G3/G#3. "11:11" Kim Eana Christian Vinten Chelcee Grimes My Voice (Deluxe Edition) 2016 A. Taeyeon’s head register often flips between falsetto and head voice from what seems to be for stylistic purposes. Like I said, I have gotten approval to do so!****. Composer Yo… 0. ‘U R’ from her Butterfly Kiss, when she support throughout the G#3 – D5, especially those resonance D5, one of the best – if not the best D5 of her career. At 2:44, seems like she hits an F#3 on the word “heart”. Keep in mind this is done by professional vocal experts who have had training. she showed a few good moments outside her supported range these recent years but not too major and consistent for her to be better than the time this analysis were written. I am confused as to why SMent never let the other girls in snsd take the lead, instead of always giving the task of every high note to Taeyeon. does anyone also have this issue? Did you understand the analysis ? In more recent years, TaeYeon has significantly improved in the G5-B5 range being able to vocalize more easily up there. Did Taeyeon support any Eb5’s in this performance of Into the Unknown? Though overlooked in previous years, in 2015 Taeyeon made point to demonstrate her skill when it comes to agility. I think it’s more apparent when she sings in English. Even though that D5 was supported, Taeyeon rarely supported D5 at that time, as many of her D5s in “Into the New World” were tight. Please do not copy and paste anything from their website without asking them directly. TaeYeon made her debut in 2007 as the main vocalist and leader of South Korea’s leading girl group Girls’ Generation. G3’s also posed a problem for her, for example the G3 in “Promise“, though there was significantly more connection on the G3 than the F3 that followed, it still sounded uncomfortable for her to hit. I might be able to answer, but the video is blocked for me. still taeyeon, not far tho, they’re very close technically. I’ve been hearing Taeyeon a lot lately and would you think that her support range is now consistent enough to be just D5 instead of C#5/D5? During this time TaeYeon also supported a D5 during her radio performance of “Counting Kisses with You” also with Jessica, although this D5 in particular was not resonant it had very nice support and power. Is it the technique? Can someone put her in an order (like…is she Haeri level? :aries: :sparkles: Amir 왕자 mirOu :sparkles: :aries. I know it was too low for her to support, but it didn’t sound (at least to me) like she was lowering her larynx or doing anything “bad” and forcing it. I'll keep it simple. Her voice is so feminine and sweet - it needs a song without super crazy high notes and all that extra stuff. Fast forward to Taeyeon in 2009 and 2010 not much happened in these years for Taeyeon aside for her having her first studio F5 in “Wake Up” from the Hoot mini album in 2010. Although it is a mere speculation if applied to "pop singers" (keep in mind that opera singers use a completely superior technique as opposed to pop singers e.g 10x more breath support and an operatic placement), many people do believe there are undeniable … Taeyeon has shown she is best suited for slow to mid-tempo runs with faster runs she tends to lose control and rhythmic flow and her pitch tends to go off. Please support them. Taeyeon has shown she is best suited for slow to mid-tempo runs with faster runs she tends to lose control and rhythmic flow and her pitch tends to go off. In 2013 Girl’s Generation kicked off the year with pre-promotional track “Dancing Queen” before releasing lead track “I Got A Boy.” ‘Dancing Queen” and “I Got A Boy” were both less taxing vocally than “Twinkle” and “Baby Steps”, but Taeyeon still couldn’t handle the D5s she was required due to her regression above C#5. I’m just glad that Mamamoo is as good as they’ve always sounded ❤ Those girls deserved more attention. Taeyeon is not one for dramatics when it comes to her singing. “Twinkle”, the leading track, required Taeyeon to sing F#5s in every performance. Above D5 Taeyeon’s voice becomes tight and strained. MA Vocalists: Melismatic/Agile Vocalists, Consistent forward placement in the A4~D5 range, Consistent resonance in the A4~C5/C#5 range, Forward masked placed sound in the chest voice, At times head voice can be produced up to B5 and resonance up to F#5, Capable of doing runs with good flow and pitch accuracy, Healthy vibrato is produced with good support, Lower register below G3 becomes really airy. nah i very remember the best performance was Lost in love with Tiffany, where she produce very much resonance but i feel UR should be too but i thought the was some inconsistent moments in that song. The D5 expansion was first noticed in the Lion Heart album released in August of 2015 in songs like “Green Light” and “Bump It.” The sustained D5 in “Green Light” had strong support and an open sound very different from her D5s in previous years and the phrased D5s in “Bump It” had good support. I am thoroughly, genuinely confused. Below that her voice would become very airy, quiet, and lack projection, for example her performance of her OST “Missing You Like Crazy” in which she sings many F3s which were consistently airy and not completely pitch centered. However Taeyeon has shown she is completely capable of producing resonance on D5, for example her D5 in “U R” from her Butterfly Kiss concert and her D5 in “Feel So Fine” from Persona; despite the quality of the fancams, both notes have a very supported, projected, and clear sound. The D5/C#5s from that line were almost always supported ,especially the C#5, but sadly the sustained E5 afterwards never was. I wouldn’t safely say it’s a C#3. ), taeyeon is still proficient. For example her head voice Bb5 at the end of “Gemini” is very tight and strained. I saw another user on here copy and paste a vocal analysis from that website without giving credit and it bothered me lol. So we can’t really know what you think is not correct with the analysis if you don’t tell us. Song Writer Album Year Ref. Fast forward to 2010 not much happened for Taeyeon technically, except for her having her first studio F5 in “Wake Up” from the Hoot mini album in 2010. This was not meant to be malicious. The vocal directing of ‘Circus’(서커스) was done entirely by Taeyeon. Because it sounded (at least to me) more “open”. Change ). What did we think about the music video? 13.6k votes, 1.8k comments. Those F#5s were of the same quality as the “Twinkle” F#5s. Also TaeYeon’s Eb5s from the “Express 999” live performances had support although some tension was also present, such as the Gayo Daejunperformance. vídeo de la patronaaaaaa bueno ya acabara muy pronto el año y pues feliz navidad seré honesta... hubo años mejores xd pero igual. I will be delighted if you can answer me. solar has that brightness as an advantage but she still a bit shouty, there’s also the fact that taeyeon always had a connection in her upper range which is not solar case , i know you made the comparison in terms of “supported range” . ( Log Out /  Hey Ahmin, how are you? Taeyeon made her solo Japanese debut last year with the pretty — but extremely safe — Stay.That song jettisoned the funky backbone of Korean single Something New for straightforward, feel-good balladry. Vowels ( the ng ) very airy and unsupported, but she maintains a neutral larynx Vinten Chelcee my! Hard to email them and ask between red velvet Wendy and Taeyeon ’ s C... 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