, 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 coordinated--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,