The world is full of noises around the occurrence of which we do not even think about. Music is a universe of various timbre instrumental and vocal sounds, so how are they formed?
Term
Attack - the moment of sound. It is the beginning of the game for some musical instrument or the vocal work of the voice apparatus.
In vocal art
The attack of sound in singing is divided into 3 types:
It implies a dense and sharp contact of the ligaments. The glottis closes before air begins to flow, and then the sound with pressure escapes along with the exhalation. The voice apparatus is in tension, because this type is not used for academic professional singing. It occurs either in young, not yet trained singers, due to inexperience, or for pedagogical purposes. In vocal schools, they use it to practice the dense sound of the voice, to show the difference in attacks or in other cases, at the discretion of the mentor.
Manuel Garcia (opera singer and teacher from Spain) was an ardent supporter of this method.
Do not think that this type is absolutely useless in concert activity. In works that have the character of anger, savagery, passion and other similar emotions, it becomes even necessary.
The air outlet and the closure of the ligaments occur simultaneously, as a result of which the connection is gentle and smooth, automatically eliminating the injury of the vocal apparatus. It is worth noting: the closure is not tight, but only close, which mainly distinguishes it from a solid attack. The absolute absence of tension and overtones, as well as the complete closure of the glottis makes this type of most prosperous. The classical vocal school used almost always only this method, and the singers were directed to strive precisely in this “soft” channel.
The name speaks for itself: breathing ahead of the closure of the ligaments, because during the onset of sound they are still in a relaxed state and enter into operation only after a certain time. Further, their work is similar to a soft attack, but inept singers are not able to cope with this technique, which entails a weak sound, as if with a feeling of "last resort". In the classical school, an aspiratory attack was used solely for the purpose of experiments for conducting observations. In concert practice it was eradicated.
In works, it could be used in rare cases to show cowardice, powerlessness, weakness and other frail emotions.
As mentioned earlier, in academic singing, a soft attack was preferred, but in the 21st century, in the world of pop vocal, all kinds of techniques are used in practice.
But do not forget:
- long-term use of a solid attack can lead to the appearance of nodes and ulcers;
- Frequent use of an aspirated attack can lead to atrophy of the muscles of the larynx.
To use all types of sound attacks, the singer needs to be trained in order to avoid negative consequences for his health.
In instrumental music
In addition to the vocal apparatus, there are a number of instruments created by human hands. Each of them has the ability to extract the sounds of music and do it with a completely different character.
Wind
The theme of sound attack is very common among wind instrument musicians and is similar to the principles of vocals: work is related to breathing, as is the case with singers.
There are almost 3 similar types:
In the process of articulation, there is no closure of the labial gap, and the air flow does not stop. This is such a work that does not interrupt the vibration of the lip mucosa (related to previous sounds), but goes against the background of these vibrations.
The inherent consonant for a given sound attack is D.
Vibrations of the mucous membranes of the lips occur after complete closure of the labial gap and stopping the flow of air.
For a solid attack of sound, a consonant appears - T.
Used in conjunction with the two attacks listed above.
For this type of attack, a consonant will act as a pronunciation - K.
The very choice of the type of attack depends on the presence or lack of time to close the gap using the tongue.
Perfume musicians have a close line with vocalists, since the formation of sound primarily depends on their articulatory apparatus and the breathing process, and not on the instrument itself.
Keyboards
Instruments like a piano have a full temperament, whose intonation cannot be changed by playing a game.
Therefore, under the attack of sound, it is customary to understand exactly the moment the key is pressed and subsequently the sound is extracted from it.
The attack itself will depend on the nature of the touch: abrupt (stacatto), soft (legato), underlined (marcato) and other touches.
In other groups
In stringed bow instruments, the attack of sound depends on the operation of the bow. These include cello, violin, viola.
In the string-pinch group, the performer is responsible for the sound attack with the help of fingers or other devices (guitar pick).
Misconceptions
There are a number of stereotypes associated with the extraction of vocal sounds of music. The following are examples:
1. With the phrase "attack of sound", it is believed that the beginning of the attack is the formation of any speech sounds and consonants as well. But this is a big mistake. Consonants consist of noise and cannot be sung.
There are only 5 pure vowels (I, E, A, O, Y), with which it is possible to depict the types of sound attacks mentioned earlier. Iotized - I (ya), Yu (yu), E (ye) are derivatives of "pure" vowels.
2. The situation when the consonant initially appears is YES, RI, ME and the like is not considered an attack.
Total
As it turned out, there are enough ways to extract sounds and the ability to use each of them is a prerequisite for a professional singer or instrumentalist.