Attack

An attack in singing is simply how you begin or initiate phonation, the vibration of your vocal cords. Traditionally, there are three types of attack in singing. They are called aspirated, also known as “soft”; glottal, also known as “hard”; and light attack, also known more recently as “coordinated.”

Aspirated Attack:
If you initiate the vibration of your vocal cords with a puff of air or sigh, as in, “Hi!” or “How are you?” you have made an aspirated or soft attack. We need aspirated attacks in English with words that begin with an ‘h’ or to create a feeling of intimacy similar to when you whisper. When using the aspirated attack properly, the tone of your voice after the attack is not breathy. If you have a breathy voice, most of your attacks will be aspirated by default. In the beginning, how you attack is how you sing, so the phrase following will likewise be breathy. An aspirated attack is not too tiring on your vocal cords, but singing with a breathy voice is. Even though this attack is useful and necessary in singing, we want to eliminate it as your default attack to reduce breathiness. This takes developing a control over how the cords come together to vibrate cleanly.

Glottal Attack:
It’s best to explain this attack by starting with a light cough—do it now and notice how the cords begin closed and then fly open. Even done lightly, you will notice a bump caused by the initial subglottal pressure that gets released with the opening of the vocal cords. We use this attack daily when we say a word that starts with a vowel, like “Every, eh, eh.” The louder you say the word, the more apparent the glottal attack becomes. This proves that you can vary the subglottal pressure on command. A heavy glottal attack is also similar to grunting. In this case, the glottal attack is very hard, and the vocal pitch lowers, giving it a different effect. With time you will develop a sensitivity to subglottal pressure and be able to play with it. Many untrained singers use a heavy glottal attack when the phrase starts with a vowel. This is commonly heard in Broadway belters, who are known to overuse this attack, adding a lot of weight and pressure to their voices. Over-using glottal attacks can be tiring due to the amount of subglottal pressure and the bumping action. A glottal attack is needed from time to time but must be used sparingly and with great care to reduce the subglottal pressure and to avoid a strong glottal kick.

Coordinated or Light Attack:
This is the best attack to keep your voice in top shape and is an indicator that you’ve mastered vocal technique. Even an untrained listener will notice your voice is smooth and sounds more professional. We do it all the time when we speak. In singing, the problem lies in taking bigger breaths, which often lack control. You’ll achieve it when you can perfectly coordinate your vocal cords and the release of minimal air from the lungs. There is no breathiness with this attack nor any bumping action as found in aspirated and glottal attacks—just a clean, pure start to the sound. It is achieved when you have mastered a unique application of the intercostal muscles to maintain proper support, used in conjunction with how the cords come together to initiate vibration, called phonation. Light attack is the dominant one used in classical singing and should be your preferred attack. The other two are reserved for specific interpretive choices or reasons: to add colour to a word or create a certain feeling.

There is no wrong attack in singing. Each one has its place and purpose. Great singers master all of the attacks and know how and when to use each one. In styles other than classical, there are other, less conventional attacks, which involve the use of vocal fry, a cry, and growling. These must also be perfected in order not to strain your voice by their use or overuse.

For more information or to book a private lesson, please go to the contact page.