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[Self-made Diva] Ichikawa Yukino’s easy-to-sing songs
Yukino Ichikawa has drawn attention from early in her career for her consistently strong vocals.
Although her life as a singer might have seemed smooth sailing, she was forced to take breaks—first due to burnout, and the second time because of ovarian cancer.
After that, she made a miraculous comeback and continues to captivate many fans with her powerful singing.
That said, because her vocal ability is so high, many of her songs are quite challenging.
So this time, we’ve picked out the songs by Yukino Ichikawa that are especially easy to sing.
There’s also commentary from a former vocal coach, so please use it to find pieces that could work as your own practice repertoire.
[Self-Made Diva] Ichikawa Yukino’s Easy-to-Sing Songs (1–10)
The Ephemeral WomanIchikawa Yukino
Utakata no Onna, a signature song by Yukino Ichikawa included on the album Yukino Ichikawa Recital 2023: Sonosaki no Hajimari.
While Yukino Ichikawa often sings pop-style numbers, this piece is crafted as a full-fledged enka.
Even so, it’s not difficult; the highly advanced kobushi with repeated, intricate pitch rises and falls—often heard in her songs—hardly appear here.
The ornamentation mainly stays within 1–3 note movements, and the overall range is on the narrow side, so women accustomed to singing enka should be able to perform it without issue.
Farewell, Siberian RailwayIchikawa Yukino
Among Yukino Ichikawa’s songs, “Saraba Siberia Tetsudō” stands out for its strong pop elements.
It’s a cover of Hiromi Ōta’s classic, arranged as pop music that retains the flavor of Showa-era kayōkyoku.
Unlike enka, the vocal line is straightforward and easy to sing, so there aren’t any particularly tricky parts, though the section at the end of the chorus is somewhat high, so be sure to adjust the key appropriately.
Basically, since it’s grounded in the natural minor scale familiar to Japanese listeners, it should be easy to sing smoothly.
Farewell SongIchikawa Yukino
Beloved by many fans as a tear-jerking masterpiece, Yukino Ichikawa’s signature song “Nagori-uta.” While it’s a piece that evokes melancholy in an enka style, if you pay attention to the finer details, you’ll notice it’s actually closer to Showa-era kayōkyoku than to traditional enka.
In fact, techniques associated with enka—such as kobushi ornamentation—are used sparingly, and the enka flavor is largely limited to the melody.
The vocal range isn’t particularly wide either, making it a song that anyone can tackle with ease.
Consider adding it to your repertoire.
OrigamiIchikawa Yukino
Overall, Ichikawa-san gives the impression of singing quietly, so breathing is key.
If you sing while exhaling a little—like pronouncing ha, hi, fu, he, ho—you’ll get a breathy tone.
The important point then is to engage your lower abdomen (tanden) and project a bit more so your voice doesn’t fade.
That way, the words will be clearly heard.
The pitch rises to C5 right before the chorus, so make sure to add strong accents there! While enka often features vocal ornamentation (kobushi), this song is sung softly, so I think it’s better for the phrase endings to fade out rather than be held.
Still, articulate the final words clearly.
Overall, the melody isn’t high; if anything it’s on the lower side, which might make it harder for women to find the pitch.
If you raise your hand to eyebrow level and imagine sending your voice there, your pitch will stabilize.
Be careful throughout not to let your pitch drop as you sing.
NocturneIchikawa Yukino
The song begins with a scale that steps up from A3, and if you can nail that very first note, I think you’ll be able to sing comfortably.
The piece overall has a structure where the pitch moves up and down, so try to sing by carefully capturing each note one by one.
There are a few long tones on the syllable “n,” which can easily cause tension, so try producing them lightly as if you’re humming.
At the end of the chorus there’s a section with many words, but if you’re careful to articulate each one, you should be able to keep your pitch steady.
Since it’s a relaxed 4/4, swaying your body as you sing may help your voice come out more naturally!
evening primroseIchikawa Yukino
It’s a very emotional song when you listen to it as a whole.
Because of that, I want you to pay attention to dynamics so it doesn’t become monotonous, and make sure to come in clearly on the first word of each phrase.
The overall vocal range is C#3 to B4; the verses (A and B sections) sit low, and the chorus jumps up into the high range all at once.
Sing the A and B sections gently, as if you’re speaking, without overexerting.
In the chorus, every phrase starts with “na,” but the N-line tends to be nasal and can make pitching difficult.
Bring it out more strongly and accented than you think! The note right after that “na” is the highest note in the song.
Use the “na” as a runway and then release the next note in one go.
It’s a bit of a challenging song, but give it some practice.
There are nights when a dream just feels lonely.Ichikawa Yukino
A work distinguished by a nostalgic melody that evokes Showa-era idol songs, “There Are Nights When Dreams Aren’t Enough.” The opening has the feel of Showa kayō with a slightly enka-like melancholy, but as it approaches the chorus it shifts to a mood closer to the smooth idol pop of the 1980s.
Every part is easy, with a compact vocal range, and the kobushi-style ornamentation appears only once, at the end of the chorus.
If you’re comfortable with pop, consider adding it to your repertoire.
snowIchikawa Yukino
Yukino Ichikawa’s classic “Yuki” is memorable for its melancholy-tinged melody.
Included on the album “Uta-Onna IV: Song, Drama, Poetry — The Works of Akira Yoshida,” the piece is crafted with a tone that sits between Showa-era kayōkyoku and pop throughout.
The tempo is very relaxed, and for a Yukino Ichikawa song, the vocal range is quite narrow; aside from one instance, vocal techniques such as kobushi do not appear.
Even the sole kobushi that does appear only shifts by a single scale step, so it shouldn’t feel difficult.
Snow Love BlossomIchikawa Yukino
With a range from E3 to E5 (two octaves), this song may feel a bit low overall for women.
The A section starts on relatively low notes, so you’ll want to avoid engaging your throat right from the beginning.
If you sing as if gently placing your voice right in front of you, it’s easier to hit the low notes.
Also, since this song builds rapidly from the chorus, singing the first A and B sections softly, as if speaking gently, will help set the mood.
The chorus opens around G#4, which requires a bit more projection, so pay attention there.
Make sure to breathe well and add accents on the higher notes! In the latter half of the chorus, the melody drops lower, so be careful not to let your pitch sag.
Je t’aime ~ More and moreIchikawa Yukino
Among Yukino Ichikawa’s songs, the celebrated Je t’aime ~ Motto Motto is known as something of an outlier.
Released squarely as a kayōkyoku (Japanese pop) number, it features none of the intricate, vibrato-heavy vocal lines typical of enka.
Crafted to evoke late-70s to early-80s kayōkyoku, it maintains a sultry vocal tone throughout.
The difficulty level is low; the melody stays within a narrow range with gentle rises and falls, making it a great candidate to add to your repertoire.