Of special importance for the tone and the word are the movements of the lips, which are so widely different in the bright and in the dark vowels. These movements cannot be too much exaggerated in practising. The same strength and elasticity to which we have to train the muscles of the throat and tongue must be imparted to the lips, which must be as of iron. Upon their coÖperation much of the life of the tone depends, and it can be used in many shadings, as soon as one is able to exert their power consciously and under the control of the will.

Every vowel, every word, every tone, can be colored as by magic in all sorts of ways by the well-controlled play of the lips; can, as it were, be imbued with life, as the lips open or close more or less in different positions. The lips are the final cup-shaped resonators through which the tone has to pass. They can retard it or let it escape, can color it bright or dark, and exert a ceaseless and ever varying influence upon it long before it ceases and up to its very end.

No attempt should be made to use the play of the lips until complete mastery of the absolutely even, perfect tone, and of the muscular powers, has been acquired. The effect must be produced as a result of power and practice; and should not be practised as an effect per se.