CHAPTER IX
THE STROKE OF THE GLOTTIS
The coup de glotte, translated as "stroke of the glottis," refers to the manner in which a note should be attacked. This matter of attack already has been covered by inference many times in the course of this book. For, as the effectiveness of vocal attack depends upon the way in which the air-column strikes the vocal cords, it follows that the advice constantly given and in accordance with which the entire vocal tract of the singer should adjust itself as if by second nature to the tone that is to be produced, each time places the cords in the correct position to receive the stroke of the outgoing air. It does away with all danger of the "audible stroke" which occurs most frequently on the very open vowel-sounds, when the air reaches the glottis too late and is obliged to force its way through, the result being a disagreeable click; and it also obviates the defect from the opposite cause, when the air passes through the glottis too soon and results in an aspirated sound, an H before vowels, the voice, for example, emitting "Hi" for "I".
Mackenzie remarks on these points that the great object to be aimed at is that no air should be wasted or expended improvidently; that just the amount required for the particular effect in view must be used. Too strong a current tends to raise the pitch, a result which can be prevented only by extra tension of the vocal cords, which, of course, entails unnecessary strain. Again, the air may be sent up with such velocity that some of it leaks through before the glottis has time to intercept it; or with such violence as to force the lips of the chink a little too far apart. In either case so much motive power is thrown away and to that extent the brilliancy and fullness of the tone are lost. The coup de glotte, or exact correspondence between the arrival of the air at the larynx and the adjustment of the cords to receive it, is a point that cannot be too strongly insisted on.
"The regulation of the force of the blast which strikes against the vocal cords," says Mackenzie, "the placing of these in the most favorable position for the effect which it is desired to produce, and the direction of the vibrating column of air, are the three elements of artistic production. These elements must be thoroughly coördinated—that is to say, made virtually one act, which the pupil must strive
by constant practice to make as far as possible automatic." Extend this admirably expressed paragraph to the entire vocal tract instead of limiting it simply to the vocal cords as Mackenzie does, and it covers the problem of attack. It is not only the vocal cords that should set for the tone at the moment the air-column strikes them, the entire vocal tract takes part in the adjustment that prepares for the attack. It is indeed, 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