When you begin your journey into the world of singing, one of the first things you'll encounter is the concept of "onset" or "attack," which simply put, is the first sound you make as you begin to sing a note. During this period the air pressure builds up and is briefly turbulent before stabilizing into a steady note, and at the same time, you're coordinating the muscles of your vocal folds into position to sustain the note.

More traditionally, this was referred to as "attack", but in modern times many teachers prefer the term "onset" as its meaning is clearer. To the uninformed, the term "attack" might suggest an aggressive approach, and it's essential to understand that it merely refers to the beginning of a sound. This term is not unique to singing either! You'll hear wind instrument players, string instrument players and even synthesizer sound designers all use the term "attack", and they're all referring to the start of the note before the sound stabilizes.

But back to singing, the human voice is physically capable of several types of attacks. Each of these is a coordination between muscle and airflow, each involving different proportions of muscle and airflow. The onset is important in singing because it plays a large psychological role in setting the emotional tone of the delivery of that note.

Let's delve into the different types of vocal onsets and why paying attention to how you approach a note matters.

Soft (aspirated) Onset

A soft onset is when you initiate the sound with a gentle puff of air, similar to the 'h' sound in 'ha'. You will hear air escaping through the vocal chords before any tone is produced. You'll hear this too when you whisper or sigh softly. This onset comes natural for words that start with an 'h' or when you're aiming for an intimate, emotional effect.

If you want to try it, start by singing vowels but with an "h" sound in front like hay, hee, hah, hoe, how, and hoo. Pay attention to the sound of the air passing through before the smooth even tone of the pitch begins and stabilizes. Once you're comfortable with this, you can try minimizing the "h" sound and focus instead on that breathy leading tone.

While an aspirated onset can produce a relaxed or intimate tone, it can also lead to a breathy sound quality that can be a bit cringy if overused, so be mindful of not overusing this. It's also not generally desirable when singing in choirs (unless of course a word actually begins with the letter H.

Overusing soft onsets can also put wear and tear on your vocal folds, so it's best to be conscious of how much you're using it.

Hard (glottal) Onset

The hard onset is simply where you forcefully close your vocal folds before air begins flowing, and then open them suddenly with a burst of air.

To try it, hold your breath and push a little to let the pressure build up behind your vocal cords, then sing "oh" abruptly. The tone of the "oh" should begin immediately as the breath is released. Can you hear and feel that high pressure burst of breath before the "oh" sound stabilizes?

This is a hard (or glottal) onset. It's when the vocal cords come together before the sound starts, creating a noticeable bump or kick in the tone due to the built-up pressure below the cords.

This is somewhat desirable to add emphasis or drama to a phrase, but the pressure and abruptness also strains the vocal cords and can be potentially harmful if overused. Therefore, it's crucial to use thoughtfully and with awareness.

To practice hard onsets, take your vowel sounds like Oo, Oh, Ee, Ay, Ah, and close your vocal cords (i.e. hold your breath), letting the pressure build up a little before you let it abruptly burst through and begin singing the note. Limit the duration of hard onset exercises to a few minutes at a time, and give your voice some time to rest before starting the next exercise.

Coordinated (Simultaneous) Onset

The coordinated onset (also called balanced or simultaneous onset) is the gold standard for trained singers. It's a balanced approach between hard and soft onsets where the vocal cords and the airflow from the lungs synchronize closely, resulting in a clean, pure start to the sound without any breathiness or abruptness. Achieving this onset indicates a mastery over vocal technique and provides a smooth, professional sound quality.

To master the coordinated onset, a singer must develop a keen understanding of breath support and how the vocal cords come together. This onset is neither too soft nor too hard but sits comfortably in between.

To begin practicing simultaneous onsets, it's easiest to insert a "y" sound before the start of a vowel: Yah, yoh, you, yee, yay, etc. Feel the way the breath and vocal folds begin at the same time, with smooth, even pressure. There is no breathiness, and also no burst of high pressure as you begin the note.

The simultaneous onset is a healthy and sustainable way to sing. It carries a neutral and balanced emotional delivery that should be your go-to as you develop as a singer.

Vocal Fry

Most teachers wouldn't consider vocal fry to be a type of onset per-se, however it's used heavily in modern, contemporary singing and some teachers argue this a distinct type of onset. It is similar to a coordinated onset, however the vocal folds close and pop open repeatedly to produce a creaky, sizzling sound underneath the note.

To practice, start low in your vocal range and try to make an edgy sound like a squeaking door hinge. Add a "mm" sound to the beginning of each vowel: muh, moh, mee, may, mah, etc. The onset should be a smooth step into a light crying sound. Don't push too hard, you don't want to over-compress the air. You want to use just enough air to keep the tone steady.

Why Does It Matter?

The way you start a note or phrase can significantly influence the overall emotional delivery of your song. A coordinated onset ensures that the tone is clear, resonant, and free from strain, and this should be your default. Thoughtfully using soft or hard onsets for some notes or phrases can hugely affect the emotional delivery, and this is an important part of a singer's toolkit. On the other hand, consistently using an aspirated or glottal onset can quickly lead to vocal fatigue or even damage over time, and is best avoided.

Remember that unless overused, there's no "wrong" onset. Each type of onset has its place and purpose. The key is to be aware of the effects of each type of onset and to use them intentionally. With practice and guidance, you'll find the right balance and achieve a voice that's both expressive and healthy.