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CONCEPTS OF PHONATION |
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the breath is ready for it. [243, p. 37] In other words, the correct attack means a precise synchronization of the approximation of the vocal cords, and the onset of breath. [Howe 284, p. 36] "The basic preparation is very simple," says Jeffries. "First there should be an upright position; second, an easy, relaxed intake of sufficient breath; and third, a normal opening of the mouth, with a feeling of opening the whole channel down into the chest." [302] A poor attack causes unwarranted variations in pitch and intensity. The good singer attacks a tone right in the center of the pitch and holds a constant intensity throughout the duration of the tone. [Stanley 578] "Sliding up to the tone shows that you are not certain of its location." [Clippinger 104, p. 37]
Deviations in attack are said to occur, even in artistic performances. Scientific instruments can now measure irregularities of performance that escape the naked ear. (See Chapter X.) Seashore's experimental analyses of the vocal performances of a group of great singers reveals the fact that about 25 per cent of the tonal attacks were not direct hits but were accomplished by gliding (imperceptibly) into the tone desired. Furthermore about 40 per cent of the transitions from tone to tone were accomplished by inaudible portamentos or gliding intonations that connected the tones. Only about 35 per cent of the notes sung were level attacks (with a slight pause between tones). This information is interesting to the teacher in that it illustrates the irregularities of phonation even in good singing and the fallibility of common hearing as a guide to pitch accuracy. [511]
The glottal stroke. According to Aikin, Manuel Garcia and his followers have always insisted that a tone should be preceded by what he described as "a very slight cough," in order to secure a distinct attack upon it. [4] This type of attack is called the stroke of the glottis or coup de gloite. [Henderson 243, p. 37] The coup de glotte is little understood by authors. Hence meagre mention is made of it, often in confusing and contradictory terms. Clippinger calls it a "disagreeable shock of the glottis" [104, p. 6], while Skiles refers to it as a method of clarifying vocal attack, giving "the best raw material from which to build tone." [564] Here the issue rests for want of confirmatory evidence.
Five more interesting suggestions are made relevant to the subject of vocal attack:
1. When deep inhalation precedes the singing of any tone (in practicing) it is best "to allow a small quantity of breath to escape before attacking" the tone. [Allen 7, p. 28]
2. Stevens and Miles made an experimental study of the first vocal vibrations in the attack of a singing tone. They report that "the best |
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