How to Sing Like Hattori of macaroni empitsu: Vocal Range, Rap-Speed Phrasing & the Technique Behind It

Singing like Hattori of macaroni empitsu has less to do with a claimed top note and much more to do with two trainable habits: speech-level rap phrasing packed into dense rhythms, and intentional pitch skimming that only works once the underlying pitch is already accurate. Songs like "生きるをする" and "はしりがき" sound distinctive because of that sequencing, not because of an unusually high ceiling — and it's a sequence any singer can build.

Safety note: Everything here should come from breath support and precise pitch control, not from tightening the throat. If a phrase starts to feel pushed, or your voice feels rough for more than a day afterward, drop the key or scale back intensity. See an ENT specialist for hoarseness that lasts beyond two weeks.

Hattori of macaroni empitsu's Vocal Profile

macaroni empitsu (マカロニえんぴつ) is a four-member J-pop band, and its romanization circulates in at least three forms — "macaroni empitsu" (the band's own English styling), "Macaroni Enpitsu," and "Makaroni Empitsu." The vocalist performs under the mononym Hattori (はっとり); since Hattori is also a common Japanese surname and no primary source discloses a full legal name, this piece refers to him only as "Hattori of macaroni empitsu" throughout, and does not speculate on a surname beyond the stage name.

Hattori of macaroni empitsu has no officially declared voice type. Based on the documented catalog, he's informally described as a high tenor — the low end sits in a fairly ordinary A2-to-C3 area, but the chest-voice ceiling in most songs sits in the A4-to-B4 range, which is the part of his voice that comes up constantly across the catalog. Treat this label as a working description, not a confirmed classification.

It's also worth separating two different claims about his range. Song-by-song, documented melodic ranges include:

• "トマソン" / "キスをしよう": chest voice roughly D#3 to G#4.
• "忘レナ唄": chest voice D3 to A4.
• "ブルーベリー・ナイツ": chest voice C3 to A4, falsetto reaching C5.
• "恋人ごっこ": chest voice F#3 to A#4, falsetto reaching C#5.
• "生きるをする": chest voice D3 to B4.
• "メレンゲ": chest voice D3 to D5, falsetto also reaching D5.
• "はしりがき": chest voice F3 to C5, falsetto reaching D#5.
• "僕らが強く。": chest voice B2 to B4.

Compiled across the catalog, chest voice spans roughly A2 to D5, with falsetto reaching D#5. But that top note is not representative — D5 shows up in only a small number of songs, most prominently "メレンゲ." The far more common ceiling across the catalog is A4 to A#4, so describing "his range" as D5 without that context overstates what most songs actually ask a singer to do. Treat every figure here as approximate and song-derived, not a physiological measurement.

His two defining vocal traits, consistent across most of the catalog:

• Speech-level rap-style phrasing — dense syllable clusters delivered at a speaking pitch and effort rather than a "sung" placement.
• Intentional pitch skimming — grazing just around a target pitch rather than landing dead-center, used as a stylistic choice on top of already-accurate intonation.

Hattori's Signature Songs — by Vocal Challenge

Working through the catalog by technical demand, rather than by popularity, gives you a natural training order. Transpose any of these to a key that fits your voice.

"はしりがき" is the destination, not the starting point — stacking a C5 chest ceiling on top of a D#5 falsetto extension asks for control you build gradually through the songs above it.

The 3 Techniques Behind Hattori's Sound

Speech-Level Rap-Style Phrasing

Across songs like "生きるをする," Hattori keeps a speaking-voice pitch and placement instead of lifting into a "singing" position, then packs dense syllable clusters into that speech-level space — closer to rapped delivery than sustained melody. This is what makes the verses feel conversational and fast rather than performative. The common mistake is treating "speech-level" as permission to blur diction: singers assume consonants can slide together at speed, but dense syllable clusters actually demand more precise articulation, not less, since there's no sustained vowel to hide behind. In Bloom Vocal, the speaking-pitch phonation exercise (C-8) builds the placement itself, while diction and consonant-clarity drills (G-1) keep articulation intact once the tempo increases. The K-pop pronunciation and diction guide covers the same fast-diction fundamentals from a different genre angle.

Intentional Pitch Skimming

Rather than landing squarely in the center of a target pitch, Hattori grazes just around it, creating a light, deliberate friction against the backing chords — a texture some listeners hear as slightly "off" in a stylistic, controlled way. The order here matters more than the sound itself: this only reads as style when the underlying pitch is already dead-accurate, because a listener (or the singer) can't distinguish deliberate skimming from genuine pitch instability unless the center is demonstrably reachable on command. The common mistake is treating "the pitch doesn't need to be exact" as an excuse to skip accuracy work entirely — that produces instability, not style. In Bloom Vocal, pitch-matching drills (B-1) build the accurate center this technique depends on before any stylistic deviation is added. The pitch accuracy guide walks through the most common ways pitch drifts off-center by accident, which is exactly what skimming needs to avoid.

Sustained A4-to-B4 Mix Residency with C5 Falsetto Ornament

In songs like "恋人ごっこ" and "はしりがき," the chorus doesn't just touch a high note once — it stays parked in the A4-to-B4 area for extended phrases, with an occasional falsetto flick up to C5 or higher as ornamentation. That kind of residency, rather than a single peak, is what actually strains an untrained voice. The common mistake is burning too much breath during the fast, syllable-dense rap sections, leaving nothing in reserve when the chorus arrives — support then drops right as A#4 or B4 lands. In Bloom Vocal, sustained mix-voice exercises (E-11) build the stamina for that residency, and counted-breathing drills (A-2) train the breath budgeting that keeps support available by the time the chorus starts. The mix voice practice guide covers the same register-blending fundamentals this technique depends on.

How to Train Toward Hattori's Style

Step 1 — Start with a lower-ceiling song to build the habit

Work through "トマソン" or "キスをしよう," which peak around G#4 and stay below the passaggio, to build speech-level phrasing before tackling higher chorus material like "生きるをする."

Step 2 — Train speech-level rap phrasing

Practice packing dense syllables into a phrase at your speaking pitch and effort. Keep diction crisp — this is where the technique most often falls apart under tempo, not where it should relax.

Step 3 — Lock pitch accuracy before adding any skim

Match target pitches dead-center with a pitch reference until it's reliable. Skimming around a note only works once you can hit its center on command; attempting the stylistic version first just produces instability.

Step 4 — Build sustained A4-to-B4 mix residency

Practice holding chorus phrases in the A4-to-B4 area without losing breath support partway through. Budget airflow across the rap verse first with counted breathing so there's support left when the chorus lands.

Step 5 — Run an AI feedback loop on a single phrase

Record a short phrase crossing A4 or A#4 — a line from "生きるをする" or "忘レナ唄" works well — and use Bloom Vocal's AI coaching to score your pitch accuracy, breath support, and register control. The AI surfaces specific habits, like breath support dropping mid-chorus, that are difficult to catch by self-listening alone.

Check Your Cover with AI

Ear-based imitation has a ceiling here: it's hard to tell, while you're singing it yourself, whether your pitch skimming is deliberate style or just drift, or whether your breath support is actually holding through a full A4-to-B4 chorus. Record a phrase from Hattori's repertoire — a verse from "生きるをする" or the A4 chorus anchor in "忘レナ唄" — and Bloom Vocal's AI scores your pitch accuracy, breath support, register transitions, rhythm, and expression on a 1–5 rubric, then recommends the specific exercise to work on first. It turns a vague "that felt shaky" into "your breath support ran out midway through the verse and dropped right as A#4 landed in the chorus — drill counted breathing and sustained mix-voice residency."

For more on how to sing like other J-pop vocalists, see Iyori Shimizu of back number, Masamune Kusano of Spitz, Ishihara of Saucy Dog, and Motoki of Mrs. GREEN APPLE.

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References

• Sadolin, C. (2000). Complete Vocal Technique. Shout Publishing. [Vocal mode classifications and resonance strategies, including how speech-level phonation and edge-driven pitch effects function physiologically.]
• Titze, I. R., & Verdolini Abbott, K. (2012). Vocology: The Science and Practice of Voice Habilitation. National Center for Voice and Speech. [Breath support and subglottal pressure management underlying sustained high-note residency and register control.]