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.