ay is to dismiss tongue consciousness, _let go_, and a normal
flexibility will easily manifest itself.

THE LIPS

The lips, equally with the tongue, are organs of articulation. The
upper lip is the principal factor of the two; the under lip seems to
follow the lead of the upper. The lips need much training, and it can
readily be given them. While practising to educate the lips, both lips
should be projected forward and upward, at the same time pronouncing
the word "too." Bring the edge of the upper lip as high toward the
nose as possible in practice. This will bring the corners of the mouth
forward and lift the lips clear and free from the teeth, and thus add
one more resonance cavity. This position of the lips also gives
freedom for pronunciation. "The upper lip plays the most active part
in the shaping of the vowels. It should never be drawn against the
teeth when producing vowel tones; indeed, there should be often a
little space between the upper lip and the teeth, so that the
vibrations of the sound-waves can have free play."

THE NOSTRILS

The nostrils should be dilated as much as possible, as a free, wide,
open nose gives a free, well-rounded tone, while a contracted nostril
induces the nasal tone so much dreaded. A proper training of the
facial muscles makes this dilation possible. Lifting the upper lip and
projecting it forward aids the action to a great degree.

There is a strong tendency to unity of action between the nostrils and
the lips and the soft palate. The soft palate moves downward and
forward when the upper lip protrudes and the nostrils dilate, and
moves backward and upward when the nostrils are contracted and the
upper lip allowed to rest upon the teeth.

As a rule the best singers have full, round, wide, open nostrils,
either given by nature or acquired by practice.

THE FACE

Not only must the lips and nose be trained, but the muscles of the
face also. These muscles are capable, if educated, of doing important
service.

The artist on the operatic stage or the speaker on the platform,
without facial expression begotten of muscular activity, may lessen by
half his power over an audience. To train the facial muscles is a
complicated task. To do this, stand before a mirror and make all the
faces ever thought of by a schoolboy to amuse his schoolmates. Raise
each corner of the lip, wrinkle the nose, quilt the forehead, grin,
laugh. The grimaces will not enter into a performance, but