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 their effect upon it will be markedly beneficial.
CHAPTER II
The Speaking Voice and Pronunciation
A generation ago the speaking voice was even less understood than the singing voice. That the two were intimately connected was but half surmised. Only an occasional person recognized what is now generally conceded, that a good way to improve the speaking voice is to cultivate the singing voice.