"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 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.