당신은 주제를 찾고 있습니까 “spasmodic dysphonia park hyo shin – Naul \u0026 Park Hyoshin : C5 Showcase“? 다음 카테고리의 웹사이트 https://ro.taphoamini.com 에서 귀하의 모든 질문에 답변해 드립니다: https://ro.taphoamini.com/wiki. 바로 아래에서 답을 찾을 수 있습니다. 작성자 memoirs of an imperfect baritone 이(가) 작성한 기사에는 조회수 2,477회 및 좋아요 45개 개의 좋아요가 있습니다.
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Why did Park Hyo Shin voice change? – Gzipwtf.com
He was told by a doctor that he got a brain disease called Dysphonia which is damage to the voice and makes it extremely difficult for the …
Source: gzipwtf.com
Date Published: 4/6/2021
View: 3087
Review | Park Hyo Shin: Gifted Singer With Terrible Luck …
At the end of his rehearsal, Hyo Shin could not take the intensity and collapsed and was taken to the hospital. He was told by a doctor that he …
Source: www.themurus.org
Date Published: 1/9/2021
View: 6046
Park Hyo-shin – Wikipedia
Park Hyo-shin is a South Korean ballad singer and musical theatre actor known for his emotional vocals. He debuted in 1999 and has since released many hit …
Source: en.wikipedia.org
Date Published: 2/21/2022
View: 4643
8 Times Park Hyoshin Showed You Why He Is King Of Vocals
Park Hyoshin is generally acclaimed to be one of the best vocals alive in Korea, and on rare occasions he covers songs by other artists!!
Source: www.koreaboo.com
Date Published: 10/30/2022
View: 5095
park hyo shin spasmodic dysphonia – Onyx Marble Designs
park hyo shin spasmodic dysphonia. Posted on November 4, 2020 by – Uncategorized. COOKIE: A Film About Spasmodic Dysphonia Project We Love Los Angeles, …
Source: onyxmarbledesigns.com
Date Published: 6/12/2022
View: 8146
Park Hyoshin’s Vocal Analysis
As soon as Park Hyoshin debuted, his was greatly influenced by soul music. He would emulate a sound that wasn’t natural to his voice …
Source: kpopvocalanalysis.net
Date Published: 7/3/2022
View: 9462
Korean vocalist, Park Hyo Shin – Kim Jae Gu’s Blog
At this time, he got spasmodic dysphonia, a rare disease. This disease interrupts the person’s vocalization, so it was more fatal to Park Hyo …
Source: jgjg1124.blogspot.com
Date Published: 6/26/2021
View: 680
주제와 관련된 이미지 spasmodic dysphonia park hyo shin
주제와 관련된 더 많은 사진을 참조하십시오 Naul \u0026 Park Hyoshin : C5 Showcase. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 spasmodic dysphonia park hyo shin
- Author: memoirs of an imperfect baritone
- Views: 조회수 2,477회
- Likes: 좋아요 45개
- Date Published: 2017. 12. 10.
- Video Url link: https://www.youtube.com/watch?v=RpCKRTE41Nc
Why did Park Hyo Shin voice change? – Gzipwtf.com
Why did Park Hyo Shin voice change?
He was told by a doctor that he got a brain disease called Dysphonia which is damage to the voice and makes it extremely difficult for the sufferer to speak normally. Even up till now, Park Hyo Shin is still suffering from this disease (yes, that’s so unfortunate of him) .
Is Park Hyo Shin a baritone?
Thus although it may have been believed that Park Hyoshin was a baritone, he lacks the bass-quality in the second octave portion of his range. His mixed voice doesn’t start until about D4, which indicates that his voice sits much higher than even a lyric baritone, whose mixed voice starts around B3.
Is Park Hyo a shin Kpop?
Park Hyo Shin (박효신) is a South Korean singer and musical actor. He made his debut on November 4, 1999 on SBS Radio’s show Young Street. He released his first album 해줄 수 없는 일 in December in that same year.
Did Park Hyo Shin get plastic surgery?
HE DID NOT GO THROUGH PLASTIC SURGERY FOR HIS NOSE. He told that he hated the shape of his nose when he was a child because it was so high up, but after he debuted, he was sad how people accused him of plastic surgery. He did plastic surgery for his eyelids though.
Did Park Hyo Shin retire?
The man who started the so-called cows technique (meaning the deep voice that sings like one’s crying or crying to herd cows. Hyo Shin is known as the original singer to sing such voice, so called “herding cattle voice” in Korea), which is a vibrato singing technique, has decided to retire that singing method.
What is abductor spasmodic dysphonia?
Adductor spasmodic dysphonia is the most common form of spasmodic dysphonia. In this disorder, spasms cause the vocal folds to slam together and stiffen. These spasms make it difficult for the vocal folds to vibrate and produce sounds.
What dysphonia sounds like?
For those affected by dysphonia, the voice can be described as hoarse, rough, raspy, strained, weak, breathy or gravely. There may also be voice breaks and pitch changes.
Park Hyo-shin
South Korean singer
Park. In this Korean name , the family name is
Park Hyo-shin (Hangul: 박효신, Hanja: 朴孝信; born September 1, 1981)[1] is a South Korean ballad singer and musical theatre actor known for his emotional vocals.[2][3] He debuted in 1999 and has since released many hit songs including, “Things I Cannot Do For You,” “Ba-Bo,” “Dong-Kyung”, “Good Person” and “Wild Flower”, the latter of which is one of the best-selling singles in South Korea.[4]
Early life [ edit ]
Park Hyo Shin was born on September 1, 1981 in Chungcheongnam-Do Yesan.[5]
When Park was young, he sang trot, a Korean traditional genre, at his family’s restaurant. Though he was young, many people heard he sang very well so they visited the restaurant to listen to him sing.[citation needed]
When Park was in high school, he decided to become a singer via his friend’s suggestion and participated in many competitive singing festivals where he won many trophies.[citation needed]
Career [ edit ]
He became a trainee at a Korean entertainment company. However, due to problems that happened in his management company, he moved to another company. Park thought there wouldn’t be any problems in this new company, but this company forced Park to pay money because he ignored a sponsor. Due to these issues, Park thought about giving up his dream of being a singer. However, his friend introduced Park to composer Hwang Yoon Min, and he started to sing again under Hwang’s supervision.[citation needed]
1999–2003: Debut and early career [ edit ]
Park trained to become a singer for almost a year until his debut date. On November 4, 1999, he appeared in a radio station. Then on November 30, 1999, he released his first album Things I Cannot Do For You, with the title song being “Things I Cannot do for You”.[citation needed]
Park entered the national spotlight when he attended a KBS TV show called Lee Sora’s Propose. After appearing on the program, his popularity increased significantly, which led to 440,000 copies of his debut album being sold and his album placing 15th on 2000s Music Recording Sales. He was also rewarded for the 15th Golden Disk Awards: Rookie of the Year award.[6]
The album Second Story was released in January 2001, and the song “Longing” was a big hit. This album’s producers were famous Korean producers Yoon Sang, Kim Dong Ryul, Jo Kyu Man and Yoo Hee Yeol, who made Park’s album even more sophisticated. The fans say that this album was the highest grossing album to date.[citation needed]
The next album, Time Honored Voice, was released in September 2002 with 470,000 copies sold. The title song, “A Good Person”, ranked first for two weeks in a row on SBS Ingi Gayo and won Main Prize in the 17th Golden Disk and Seoul Music Award.[7]
2004–2010: Drama soundtracks and 10th anniversary [ edit ]
The song that is said to have brought Park to fame was “Snow Flower”, a song on the original soundtrack of the 2004 KBS drama, I’m Sorry, I Love You. The song is a cover of the Japanese single “Yuki no Hana” by Mika Nakashima.[8]
Park released his 5th full studio album in 2007. The title song for this album was “Memories resemble Love” and ranked top 3 in the music chart.
He not only participated in his album but was also a singer for many original soundtracks inserted in TV programs and movies. Park sang “Hwashin,” or “Flower Letter”, for the original soundtrack of the 2008 SBS period drama Iljimae.[9] In 2008, he also participated in Hwang Project as the lead vocal by releasing the song “The Castle of Zoltar,” which was quite different from the music that he sang in early stage of his career.[citation needed]
To celebrate the 10th anniversary of his debut, Park held a series of concerts, titled Park Hyo Shin’s Gift from October 16 to 18, 2009 at the Olympic Fencing Gymnasium.[10] On May 23, 2009, Park participated in “Green Concert”. At the same time, he also worked on his 6th studio album. On September 15, 2009, Park released his 6th album, Gift, Part 1. The song “After Love” made it to number one on the music charts.[11]
2011–present: Hiatus and comeback [ edit ]
Park served 21 months in Yongsan District as an entertainment soldier as part of conscription in South Korea. He finished his service in September 2012.[12]
Park performing “Wild Flower” at his 15th anniversary concert in 2014.
After a four-year hiatus, Park released consecutive hit singles, all of which topped local music charts. “Wild Flower” was released in March 2014. The ballad single is about overcoming emotional turmoil through the metaphor of a resilient wildflower. It garnered the first place spot on the K-pop Hot 100, beating out Mr. Chu by Apink.[13] The song remained on the charts long after its release, still placing 70th in March 2016.[14] It was followed by “Happy Together” in November 2014. In April 2015, Park released the digital single “Shine Your Light”.[15][16]
In 2014, Park played Wolfgang Amadeus Mozart in the musical Mozart! at the Sejong Center.[15]
Park’s 2008 contract with Jellyfish Entertainment expired in 2016.[citation needed] On August 24, 2016 Park signed with Glove Entertainment.[17] This move was, however, highly controversial, as Park later faced a fraud lawsuit after reportedly taking approximately 400 million KRW worth of gifts after promising to sign an exclusive contract with another company.[18][19]
Under Glove Entertainment, Park released a new album in October 2016, followed by a concert titled “I Am A Dreamer” from October 8–16, 2016.[20]
Discography [ edit ]
Things I Can’t Do For You (1999)
(1999) Second Story (2001)
(2001) Time-Honored Voice (2002)
(2002) Soul Tree (2004)
(2004) The Breeze of Sea (2007)
(2007) Gift, Part 1 (2009)
(2009) Gift, Part 2 (2010)
(2010) I Am a Dreamer (2016)
Musical theatre [ edit ]
Awards and nominations [ edit ]
Military honors [ edit ]
During his mandatory military service, Park received both the Army Chief of Staff’s award and the Minister of National Defense Award.[44]
References [ edit ]
8 Times Park Hyoshin Showed You Why He Is King Of Vocals
Park Hyoshin is generally acclaimed to be one of the best vocals alive in Korea, and on rare occasions he covers songs by other artists and the results are amazing!
Ready your ears and prepare to be amazed by the renditions of famous songs by Park Hyoshin in this list called, “8 Times Park Hyoshin Showed You Why He Is King Of Vocals”
https://www.quiet.ly/list/share/5a341-8-times-park-hyoshin-showed-you-why-he-is-king?settingsId=3f2yb9%26width%3D630%26type%3Dflexible
park hyo shin spasmodic dysphonia
COOKIE: A Film About Spasmodic Dysphonia Project We Love Los Angeles, CA Drama $51,077. Bass = heavier, darker . For me, I love this stuff, theory and all, especially since I can interact with the links and hear what you are saying vs imagining it. lol. By continuing to browse this website, you declare to accept the use of cookies. Can I ask where he’s been resonant on C#5? https://drive.google.com/open?id=0B6jQS6wRsgUcdDNlckVDbncxM0E.
You do seem to pull your chest, it’s just that I hear your throat close and you get your swallowing muscles slightly closed when you get higher.
He needs to get lighter sound by right approach and practice than he’s trying to get over with so much air pressure lacking lighter pitch.
women may have tendency to expand her head register. Like that’s just so weird to me, it doesn’t work like that. However the issue with trying to give someone a voice type based off of the tone quality of the voice is that in pop music, tone is often stylistically changed. Actually there is a difference between passaggi and where your voice breaks. So try practicing 3 note scales, in semitones, ascending, with a very light approach and don’t try to be too airy or too loud, just keep the sound focused and connected without pushing. This can be heard in his duet with veteran vocalist Ann where she sings a simple run to end her vocal line in “A Whole New World,” and Park Hyoshin follows shortly after singing the same pattern of notes.
It was rather simple, so he executed it well. Park Hyoshin as a vocalist always took the liberty of performing other vocalists’ songs and adding his own musical ideas to them. (PS: Lowkey waiting for your next television appearance and singing showcase). ( Log Out / I didn’t even remember this. Now i’m interested in vocal run here, just curious, but which singer you think is the best at vocal run? Oh my God you answered again!
Able to produce resonance from the time of debut, but has since changed the way he plays around with his resonators. https://www.youtube.com/user/KitsuneMale Thank you! Also I am sorry for the late respond, I would love to share my thoughts about the subject and have a discussion with a person that I admire. He would emulate a sound that wasn’t natural to his voice to sound fuller and thicker. Disclaimer i can understand if dongha better than hyosin. Its really lengthy and really detailed.
Now with Park Hyoshin, on top of having amazing technique he is definitely not a light lyric. He can go from a very light approach in phrasing G#4’s such as in “추억은 사랑을 닮아,” to a much thicker and fuller sound on the same exact note, such as in “Der Letzte Tanz.”, Dynamically he is very much in control of his voice.
Yes, sorry about that – as soon as I pressed “Post Comment” I thought “Oh god, this is not where I should have posted this!” LOL. Anyway, im glad So Hyang covered Home. Well watch the most recent vocal tip I made, the #1 tip I posted as well. Well people were mad Sohyang was rated above Lena Park so it’s going to be the same thing but I doubt anyone will care honestly. i hate this show lol. When comparing the way he approaches his upper mixed voice range, such as the B4’s from “해줄 수 없는 일” or the A4’s from “Run To You” to the B4’s in “좋은 사람” or the A4’s in “Der Letzte Tanz,” the change is actually quite drastic. The first section of each video is actually the same piece but with a semitone difference. Treble = Lighter, edgier? What kind of vibrato is it? Actually I don’t know much about him but talking about someone with good technique have less emotion on their voice I totally disagree. Also, thoughts on the run he did at the end? I know I have said it before but English is not my first language and I am very afraid that I may sound disrespectful when it is not my intention at all. 3:43 that B4 could’ve been more opened. This is also what I hear with Ailee’s belting in the fifth octave. Classical low larynx bacame popular/introduced in classical word during Bel Canto and because of how commercial these operas were, the other houses adopted the same style. It’s not too unhealthy, if this song is originally by Gayoon, it is better than anything I’ve ever heard from her technically but I hear issues with the throat shaping and this is only B4. Not only will you get a social media shout out, a special video and email you will get YOUR NAME IN THE CREDITS OF THE FILM!
I think he is potentially spinto but he is not trained enough and doesn’t use his instrument to his full potential. But I wan’t to answer this. wow I know he changed a lot but didn’t know the improvement is that drastic! I’m not sure if he’s consistent with it since I haven’t seen all the new concert videos from last year. It was quite chronological. Future Analyses (No Longer Taking Requests), 0. Great job as always!!! I was so confused about what overtones meant in signing but basically. Thankfully, Park Hyoshin was able to grasp the concept of proper breath support without being taught to sing. Mixed voice is hard to figure out, try singing in your chest but placing it like it’s your head voice.
He has great dynamics, really nice interpretation and all, but there’s nothing really new to note. and Yerin for agility. I respect both stances because honestly even popular idols can lack material sometimes in certain parts of their range. I think it’s a combination of Park Hyoshin using a bit more mask in his placement and a lower larynx position. Oh yeah Han Donggeun has a lot of technical issues but he has a darker tone that doesn’t sound lyric regardless of his vocal habits. I really appreciate your take on this, but I think there are a few misconceptions. Park Hyoshin can at times be whiny due to narrowing his vowels and placing his sound in his nose, he does it here and there and it seems to be more stylistic than not. However if the lower range is placed slightly higher, moving from the chest voice to the mixed voice and to the head voice can become much easier. Honey, you’re one of the reasons I love doing this and still do it. It’s actually quite impressive how well controlled the dynamics and placement are in his voice. With the lighter approach, his voice became more flexible so he is able to perform runs with a lot more ease, often transitioning into his head voice with just as much ease. You seem to be very used to using your chest voice and using a thick approach to your voice, so you stayed in the same range the whole time, even when the melody was supposed to go higher, you didn’t go as high as you should’ve and kind of changed the key over and over to match your comfort range. Actually I absolutely love all this information you just gave me! I have a huge respect for you as a person and for your knowledge and credibility as an instructor (I have literally read all the analysis and the comments) and I don’t say, of course, that I am right but this thought about his voice type is bothering me for quite a long time. Select this reward. I know that in contemporary singing sub voice types are not important but I just wanted to hear your thoughts about it or what made you come to that conclusion. And you didn’t mention the ultimately fake vibrato Hyoshin produces in his songs. In fact, he reminds me of Yesung in terms of compression. Love him since Wild Flower. The reason I don’t throw in Son Junho is because I don’t know him? This helped him clean up his approach to runs and with the change in placement in his voice, it helped him carry less weight in his mix. it’s a bit unusual, something must be going on that this page attract public attention like…maybe he finally started to appear in tv show like king of mask singer? If the placement of sound is closer, then the gap between the notes sounds much narrower and the voice is a lot freer to move. The one register where very little change can be heard is his head voice. Bright pushing can still be resonant, but I can’t tell you because I’d have to see examples of what you consider non-whiny belts from tenors above Bb4 to see what you’re hearing exactly. However the issue with trying to give someone a voice type based off of the tone quality of the voice is that in pop music, tone is often stylistically changed. No actually that’s interesting you mentioned that because not only have I found it difficult to find sources for “full lyric” voice types at all, I actually go to school with a lot of classical students.
– In high school, his friend said he should become a singer, so he participated in many competitive singing festivals, where he won a lot of trophies. So do his/her fans. So perhaps he may be mixing at C4, but it doesn’t mean that’s his passaggio.
Birthday: September 1, 1981 (but he wasn’t registered until December 1, 1981) Now I didn’t want to make the assumption that he’s a spinto because at this point, I didn’t have a guide for what a spinto is supposed to sound like in pop music.
Are there any things you could recommend that may help alleviate this problem or help me open my throat more?
Damn that was a long analysis… I don’t actually know if this is mentioned somewhere else on the blog, but how big of an effect does improper posture have on his singing? lol. Moments of support in his head voice can be heard with the B4’s in “Baby Baby,” C5’s in “Whenever, Wherever, Whatever” D5’s in “동경,” E5’s in “해줄 수 없는 걸,” “사랑 사랑 사랑,” “Run To You,” and “그곳에 서서” F#5’s in “Der Letzte Tanz” and “The Dreamer,” and even G#5’s in “좋은 사람.” The highest head note he’s peaked at is an A5 in a live performance of “해줄 수 없는 일,” where his head placement remained good throughout but there is an added pushing to his approach that caused him to lose support in that range. I know my larynx position is also a bit odd for contemporary as well.
It sounds like in his placement, in his voice, E4 is slightly lower than it is for me. 6:57 I hear some tension in the way his vibrato is coming out on this Bb4, but it’s nothing major. I love learning and sharing knowledge. Birth Name: Park Hyo-shin (박효신) Birthday: September 1, 1981 (but he wasn’t registered until December 1, 1981) Zodiac Sign: Virgo Height: 178 cm (5’10”) Weight: 65 kg (143 […] On the other hand he is way too chesty and compressed, something that may hide some of his natural qualities. ‘Column of sound throughout instrument is quite even’ What does it mean? It’s hard to compare a man and a woman especially at such a high rating so Id rather just not. His head voice was also his most agile register when he first debuted. I dislike it when people type others’ voices and clearly have no knowledge. Sempre achei que no dia que fizessem a analise vocal dele ele iria ficar na mesma posição que a So Hyang…. I am not good at hearing where the natural swift in muscle coordination is but, I am pretty sure, it is the more safe way to find his voice type. This is the Lim Jaebum I meant. Or maybe he just kind of looks like him a bit.. lol You really like watching this TV show, don’t you? Lowkey but high key this is way better mixing quality of sound than I was expecting and way better vocals than I’m used to on the comment sections.
8:10, the vibrato, is it supported vibrato? Everyone, even the judges, always acts as if the candidate sings very well.
Oi tudo bem? Oh hi there! When you lower your larynx, like Park Hyoshin used to do in the beginning of his career, he used to sound much thicker but still in a tenor tessitura. Hyoshin was never one to use falsetto often and has always had a very good idea of how to use his voice. Thank u so much for sharing ur knowledge with us ,enjoyed reading this analysis very much. If someone uses a chest placement in their voice, their sound will have more bass overtones and therefore sound thicker and lower. but lena has very well developed lower and upper. He doesn’t carry the weight I hear most baritones carry around F#2 ~ A2, he seems to lose his vocal weight below A2/G#2, regardless of technique. B2 was a guess as I feel I have to rely more on chest voice lower than that, but it’s a chest dominant mix more or less. He would often sound quite muffled and not project even around E3, which if he were a baritone would be far too high for him to have issues with projecting in his lower range. The only register he had that was better approached was the head voice.
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K-pop Vocalists’ Vocal Analyses
Vocal Range
F2 ~ A5 (3 Octaves & 2 notes)
Supported Range
B2/C3 ~ B4/C5
B2/C3 ~ G5/G#5 (with head voice)
Voice Type
Tenor
Strengths/Achievements
Able to support his voice consistently
Huge improvement shown from his debut days until now
Mixed voice has great placement
Resonance can be produced as high as C5/C#5
Lower range shows support down to B2
Head voice is very well connected and often resonant
Head voice support is heard up to G5/G#5
Vocal runs are often smooth, articulate and accurate
Column of sound throughout instrument is quite even
Points for Improvement
Vowel sounds are often too narrow
Occasional nasality can be present
Lower range becomes airy below B2
Mixed voice shows inconsistency often due to questionable stylistic choices
Head voice becomes pushed above G#5
Often improper shoulder posture while singing
Compresses sound of his voice in his upper range
Registers
Lower register: Shown considerable improvement since but would still be considered his least developed register. He often sings with a softer approach in his lower range. Though support may be used, his vocal cords remain weaker as he descends lower in range.
Mixed register: Shown huge improvement since debut. Able to produce resonance from the time of debut, but has since changed the way he plays around with his resonators. Mixed voice can be resonant even as high as C#5 at times, even though the consistency is questionable.
Upper register: Always has opted for a head voice over falsetto. Since his debut, he used a very well-connected head voice. Transitions have always been fairly smooth but with the lightening up of his instrument, he was able to create a much better evenness from his mix to his head voice.
Agility
As soon as Park Hyoshin debuted, his style was greatly influenced by soul music. He would emulate a sound that wasn’t natural to his voice to sound fuller and thicker. Not only that, he would also add vocal runs and embellishments to his vocal performances. As he aged and matured, the complexity and accuracy of his runs improved greatly as well. Since his debut, he’s been able to manage singing very simple trills and mid speed runs with decent separation of pitch and accuracy, such as the runs in “해줄수없는일” and “동경” but whenever runs would get faster and more complex, with more notes to be sung within less time, he would skip through notes without clearly hitting them all and thus sound quite sloppy in his delivery, as heard in “Run To You.”
Gradually he improved his ability to sing runs by emulating the runs of other vocalists as well as learning to hear simpler runs before attempting more complex ones. This can be heard in his duet with veteran vocalist Ann where she sings a simple run to end her vocal line in “A Whole New World,” and Park Hyoshin follows shortly after singing the same pattern of notes. This helped him clean up his approach to runs and with the change in placement in his voice, it helped him carry less weight in his mix. With the lighter approach, his voice became more flexible so he is able to perform runs with a lot more ease, often transitioning into his head voice with just as much ease. His more complex runs can be heard in “해줄 수 없는 일,” “좋은 사람,” “Der Letzte Tanz,” “Whenever, Wherever, Whatever,” and “It’s Gonna Be Rolling.”
Overall analysis
One of the most peculiar and often discussed things amongst the public happens to be Park Hyoshin’s voice type. Due to a huge misconception, it is often believed that the thicker the tone of the voice, the lower the person’s voice is. However the issue with trying to give someone a voice type based off of the tone quality of the voice is that in pop music, tone is often stylistically changed. A person may have a husky quality to their voice due to stylistic reasons, natural causes or even improper technique. So oftentimes Park Hyoshin is mislabelled as a baritone because people believe that a baritone has a “thick voice,” and therefore anybody with a thick voice must be a baritone.
Contrary to common belief, one’s voice type should be found by looking at their passaggi, instead of their tone quality. The tone quality will tell the listener the specific fach of a vocalist, however the main aspect of one’s voice type is mostly found by the natural passaggi. So the notes in which the voice naturally switches in tone quality and muscle coordination from chest voice to mixed voice and from mixed voice to head voice. Thus although it may have been believed that Park Hyoshin was a baritone, he lacks the bass-quality in the second octave portion of his range. His mixed voice doesn’t start until about D4, which indicates that his voice sits much higher than even a lyric baritone, whose mixed voice starts around B3. As such Park Hyoshin is and has always been a tenor who, due to the large size of his voice and its natural thickness, seems more likely to be a spinto tenor or perhaps a full-lyric tenor.
However even his thickness was also quite closely related to his technique. When he debuted, he would often sing in a range where usually a tenor would sing. His debut song “해줄 수 없는 일” actually peaks at B4 quite a few times while only going down to B2, which sits quite comfortably within a tenor range but would be very high for a baritone. His approach to singing when he first debuted and for about 7 years of his career mainly revolved around pulling his chest voice as high as he could while placing the sound quite low in his chest even in his upper mixed voice, as well as singing with an unnatural pushed down larynx position. This resulted in a heavier sound in his higher notes. He also would often lower his larynx and push the sound of his voice back into his throat for his lower range, so his lower notes would sound thicker and lower than they actually were. He would often sound quite muffled and not project even around E3, which if he were a baritone would be far too high for him to have issues with projecting in his lower range.
Placement plays a very important role in the quality of one’s voice. If someone uses a chest placement in their voice, their sound will have more bass overtones and therefore sound thicker and lower. If one’s chest voice is placed too low in the chest and then there’s a sudden change in placement as they go up to their upper range, there seems to be a very large gap in their voice. However if the lower range is placed slightly higher, moving from the chest voice to the mixed voice and to the head voice can become much easier. If the placement of sound is closer, then the gap between the notes sounds much narrower and the voice is a lot freer to move. This was the case with Park Hyoshin’s change in technique, one of the biggest changes in how he sings.
Since the beginning of his career, he would use a very thick approach to his chest voice. He would often sing with a lowered larynx, so the sound of his chest voice would come off muffled and artificially thick. He would let his low larynx accompany even notes as high as E3, so his lower range was often very quiet and would not project properly at all. This can be heard when listening to the B2’s in “해줄 수 없는 일” as well as the E3’s in “A Whole New World.” However as his technique progressed over the years and his stylistic choices became less focused on thick singing, he started to employ a much lighter approach to his voice and higher placement in his singing. So notes that were once barely projected would now sound a lot more forward and present, without sounding too thick or pushed.
Even if is singing as low as B2, as he does now in “해줄 수 없는 일,” even though the notes are just as low as they’ve always been, the sound is much clearer and he’s able to project his voice with a lot more ease. This can also be heard with the E3’s in “내가 너의 곁에 잠시 살았다는걸,”D3’s in “Der Letzte Tanz,” C#3’s in “아프고 아픈 이름,” “My Way,” “사랑합니다,” “All I Ask Of You,”and C3’s in “Listen,” ” and “눈의꽃.” This also showed very good improvement in the connection of his vocal cords and the position of his larynx. Instead of pushing it down, he learned to keep it at a higher neutral position so that he wouldn’t closed his throat and so his muscles were able to develop better in his chest voice. Even when support isn’t as strong, he doesn’t push his larynx down as much, as heard with the Bb2 in “Happy Together.” Below that range though he still shows little to no support, as heard with the G#2’s in “All I Ask Of You,” as well as the F#2’s in “취중진담.” Despite the lack of support and connection in his vocal cords, he doesn’t push his larynx down nearly as much which is much healthier and strains his vocal cords a lot less.
This overall change in placement is also very noticeable in his mixed voice. However instead of losing the chesty quality he is known for, he is now able to project with a lot less weight in his voice but still remains quite powerful and is able to chose when to add more chest or less in his mix. When he first debuted, his approach to singing would be by pulling his chest voice as high as possible even in his mix. Thankfully, Park Hyoshin was able to grasp the concept of proper breath support without being taught to sing. This helped him be able to sing with natural ease even if his technique wasn’t exactly proper. So as high as F#4, he was able to produce resonance, as heard in “Run To You.” In 2007, he claims to have wanted to change his approach and through the years, one can hear the gradual change in the sound of his voice when he sings.
When comparing the way he approaches his upper mixed voice range, such as the B4’s from “해줄 수 없는 일” or the A4’s from “Run To You” to the B4’s in “좋은 사람” or the A4’s in “Der Letzte Tanz,” the change is actually quite drastic. Most of the change happened because instead of pulling the sound from his chest, Hyoshin learned to use the sound a lot more forward and lean it into his mask. The result is a much lighter approach which does not take away power from his voice and actually allows for him to sing higher passages with a lot more ease and a lot less strain. However the lack of chestiness in his mix has also narrowed the quality of his resonance. Whereas before his resonance would often come off as full and heavy, now it’s become a lot brighter. The change in placement added a lot more treble overtones to his singing, which make him sound a lot lighter.
Resonance in his mixed voice is produced quite often. The biggest change happened above G#4/A4. Although support was present that high, the sound was so thick and pushed that he would stay stuck in his throat the higher he went. However the way he sings now is so much brighter than he has to use a lot less air pressure to sing. With the amount of natural weight his voice has and the size of it being naturally large, when he sings with full power he is able to fill up his voice with enormous volume. It’s actually quite impressive how well controlled the dynamics and placement are in his voice. He can go from a very light approach in phrasing G#4’s such as in “추억은 사랑을 닮아,” to a much thicker and fuller sound on the same exact note, such as in “Der Letzte Tanz.”
Dynamically he is very much in control of his voice. On top of that he has great stamina and is able to sing a musical phrase without taking many breaths. One very famous song is “야생화 (Wildflower)” where the climax of the song goes from G4 to Bb4 to C5, with a descending run at the end. This lasts for a full 12 seconds, all in one breath. Considering how high it is, most people would struggle to manage the air to keep going higher and higher without running out. Most vocalists who sing this line, namely Bada and Kyuhyun, add a pause between the last two notes so that they can catch their breath. Hyoshin never does so. Resonance in his mix can be heard also in the F#4’s in “My Way,” G4’s in “좋은 사람,” G#4’s in “아프고 아픈 이름,” A4’s in “It’s Gonna Be Rolling” and “못해,” Bb4’s in “Gift,” “Home,” B4’s in “It’s Gonna Be Rolling,” and C5’s in “사랑 사랑 사랑,” “Listen” and “야생화.”
As time passed, raspiness has replaced the known huskiness of his voice. To an extent the raspy quality of his voice is somewhat stylistic but also natural. He can go from phrasing raspy Bb4’s in one song without necessarily hurting his throat, as heard in “숨,” to producing sustained and resonant Bb4’s on a different song in the same night, as heard in “Happy Together.” At times his stylistic choices may make one question his consistency, but the quality of his singing up to C5 is completely his choice. Be it headiness, higher placement or even nasality. He does have the tendency to narrow his vowel sounds and not open his mouth much depending on the song, but when singing musicals he has very good diction and nasality is rarely present, showing even more control and awareness of how he wishes to sound. There is an added pressure in his mix that somewhat compresses the sound. He tends to use too much compression of his vocal cords at times and have some neck tension as well, which although is minimized by his placement, can still be harmful. Although resonance has been heard up to C#5, the consistency is questionable and he tends to sing with a high larynx above C5.
The one register where very little change can be heard is his head voice. Hyoshin was never one to use falsetto often and has always had a very good idea of how to use his voice. His transitions to head voice have always been quite smooth and he never struggles with pitch accuracy. His head voice did improve in development, it became richer, fuller and resonance has been increased, but he had the least bad habits in his voice. His head voice was also his most agile register when he first debuted. Moments of support in his head voice can be heard with the B4’s in “Baby Baby,” C5’s in “Whenever, Wherever, Whatever” D5’s in “동경,” E5’s in “해줄 수 없는 걸,” “사랑 사랑 사랑,” “Run To You,” and “그곳에 서서” F#5’s in “Der Letzte Tanz” and “The Dreamer,” and even G#5’s in “좋은 사람.” The highest head note he’s peaked at is an A5 in a live performance of “해줄 수 없는 일,” where his head placement remained good throughout but there is an added pushing to his approach that caused him to lose support in that range.
Unfortunately as an artist Park Hyoshin did have to make a sacrifice, which was losing the sound he was known and loved for. This was not met with the best reaction from his fans, as many also demanded him to go back to his old ways. However he was very professional about his choices. His change in technique are very commendable because he wasn’t taught to do it; he did it on his own. He changed how he sang because he felt the need the need to do so and the result was a much more evened out instrument. His change in placement and changing his larynx position allowed him to have an even scale from the bottom to the top of his range, which currently sounds a lot more natural to his actual voice. He isn’t trying to sound like his voice is thicker than it actually is. He doesn’t need to use a lot of heavy low placement to show power in his voice. Instead of losing power, he gained ease and developed a much healthier approach to his singing. There’s still room for improvement however if he chooses to further develop his lower range or his head voice, or manage the tension above C5 in his mix.
Musicianship
Park Hyoshin as a vocalist always took the liberty of performing other vocalists’ songs and adding his own musical ideas to them. However as time progressed, he matured into a much more confident vocalist over the years. By maturing, he was able to establish his musical identity with a lot more conviction. Considering how long his career is, performing the same songs over and over again can become quite tedious. So when he became more than a ballad singer and developed his songwriting skills, he became a lot more comfortable with changing the adlibs of many of his classic songs, showing that he is not afraid to perform the same song over the years with different melodic ideas and improvisations throughout. He has shown that he can break a song down into a clean acoustic version or even make a song much more complex than initially thought.
Label (Type of Vocalist)
HV Vocalists: High Head Voice Vocalists
HB Vocalists: High Range Belters
LR Vocalists: Low Range Vocalists
MA Vocalists: Melismatic/Agile Vocalists
WR Vocalists: Well Rounded Vocalists
S Vocalists: Stylistic Vocalists
Best Vocal Performance(s)
Vocal Range Video(s)
Videos by: HS BEYON
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Analyzed by Ahmin (Kitsunemale)
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