Vocal Range

C#3 ~ C6 (2 Octaves, 5 notes and 1 semitone)

Supported Range

A3/Bb3 ~ E5/F5

Voice Type

Light Lyric Soprano

Strengths/Achievements Resonance has always been consistent Resonance is clean and very amplified in size Improvement has been consistent and very noticeable from debut until now Support has improved considerably, as well as her mixed voice Able to mix with a balanced mix up to A5 Mixed voice is consistent up until E5/F5 Supports her lower range down to Bb3/A3 Falsetto can be relaxed up to F#5 and has shown improvement in projection Pitch has shown improvement over the years Good usage of dynamics and breath control in general Good control of mixing Able to produce a connected head voice below F5 Produces a steady healthy vibrato consistently Weaknesses Minor pitch issues are still frequent in almost all her performances Voice isn’t very agile, incapable of doing mid-speed runs Falsetto is still disconnected and becomes tense with glottal tension above F#5 Notes above E5/F5 lack consistency, become unevenly mixed and strained Notes below Bb3/A3 are generally very airy Support in the lower range is almost inexistent and has not been improved Nasality can happen on and off Stamina issues can be noticeable Head voice is inconsistent and only happens below F5 Registers Lower register: Very underdeveloped register. Her lower chest voice notes are almost always very quiet, very airy and lack any sort of true support. Tone is kept below Bb3/A3 down to above G3. Below that, the vocal cords barely come together and the support is gone. Mixed register: Huge improvement over the years, mixed voice has become more balanced, stronger in tone, resonance is often present in the voice within the G4 ~ F5 range and the mixed voice is much more balance. Upper register: Head voice has improved and is now a usable register up until above E5, above that the voice turns into a nasal falsetto and eventually tension creeps in starting on G5 and above, mostly coming from a closed throat and glottal tension. Agility

As a light lyric Soprano, Younha has more of an ease with her voice being able to not only jump around notes without as much weight carrying through and slowing down her voice, but also due to her bright and balanced voice, she has even more ease with a better coordination of the vocal cords. Although ease is present, the actual accuracy of runs and the overall stability of pitch isn’t as consistent as it could be. When it comes to vocal runs, Younha has shown that she has the necessary separation of notes when doing them at a slow speed, such as in “As Time Goes By“, but as she increases the speed or does more vocally challenging runs, the overall pitch can be easily lost such as in “If I Ain’t Got You” or “Love On Top“, showing that Younha has the basic knowledge and muscle memory necessary to create vocal runs but hasn’t worked to further develop the agility of her voice and actually use the natural lightness she has to her advantage.

Overall analysis

One of Korea’s gems, Younha debuted years ago first starting her career in Japan as she was more interested in the Japanese market at first. Coming back to Korea, she was able to make a name for herself because not only was she a solo female act who had a rock image, she was also young and could carry herself professionally through her ability to sing, play piano and compose. Throughout the years, Younha showed her competence as a vocalist by steadily improving her instrument and allowing for its potential to be achieved. Her voice was always naturally developed in certain areas that allowed her to stay in an upper mixed voice tessitura, around E5 and F5, which hinted at her being a Soprano, which due to the size of her instrument and the overall timbre, would more likely fall under the Light Lyric Soprano fach.

The lower part of her range, as a Soprano, is quite extensive and extends down to C#3 in “거위의 꿈“. However so, even though the extension is quite low, the overall support in her lower range is almost inexistent. Even early on in her career, her tone was always quite bright and well placed in her voice within the fourth octave, but a clear drop in projection would happen as she’d descend below Bb3 into the rest of the third octave. Notes as low as A3 may at times show support, as heard in “Falling Slowly” and the support becomes