as Mills says, a case of complex and beautiful adaptation.
Therefore, the term _coup de glotte_ imperfectly expresses what the
modern physiologist of voice means by attack. For _coup de glotte_
conveys the idea of shock, hence creates an erroneous impression upon
the mind of the singer. It is spontaneous adjustment, and neither shock
nor even attack, that creates artistic tone.

"Voice and Song," by Joseph Smith, expresses very well the combined
psychical and physical conditions that should prevail at this important
moment. To be certain of a good attack, the student should first think
the pitch, then, with all the parts concerned properly adjusted, start
breath and tone simultaneously, striking the tone clearly and smartly
right in the middle of its pitch. The book also describes the three
faulty ways of attack: (1) the vocal cords approximate for the
production of the tone after the breath has started, resulting in a
disagreeable breathy attack; (2) the glottis closes so firmly that the
attack is accomplished by an extraordinary explosive effect or click;
(3) the vocal cords seek to adjust themselves to the pitch after the
tone has started, and produce a horrible scoop in the attack. One of the
worst faults in singing, the tremolo, is due to that unsteadiness of
attack which results when the relationship between the breath and the
laryngeal mechanism is not maintained--when the vocal tract has not been
adjusted in time to the note the singer is aiming to produce.

Another writer who has a correct conception of what occurs at the
important moment of attack is Louis Arthur Russell, who says that the
musical quality of a tone is due, 1st, to its correct starting at the
vocal cords; 2d, its proper placement or focus in the mouth after
passing through the upper throat, etc.; 3d, its proper reinforcement
through resonance and shape of the mouth cavities; and 4th, its support
by the breath. While this seems to describe four successive adjustments,
they are so nearly simultaneous as to be one. This is clearly recognized
by Mr. Russell, who says further, that what he has described implies
that the body has been put into condition and that everything is in
order, alert, responsive and ready for the call of the will; that the
whole body is in singing condition; that everything is in tune, and that
the one tone wanted is all that can ensue. The last is especially well
put. Everything has been made ready--psychically and physicall