In singing and speaking, the larynx should be _steadied_, but not held rigidly fixed in any one position. It will be remembered that to this part of the vocal mechanism are attached, below, the trachea, and above, the tongue, indirectly through the hyoid bone and the thyro-hyoid membrane, as well as certain muscles which influence the relative position of these various parts, so that to maintain the larynx in the same position, absolutely, must be against Nature's methods. The tongue alone must in its movements tend to alter the position of the larynx, as we have before pointed out. At the same time, the laxness and lack of control which some singers permit in their vocal organs, under the mistaken idea that all the parts of the "throat" cannot be too free, prevents them from getting the effects they desire, with that vigor and certainty the public so much admires, and rightly so. The golden mean should be observed; between undue tension, which implies inability to control, whether it be in the larynx or the breathing apparatus, and a looseness inconsistent with neat and certain results, the voice-producer must choose, with that common sense so indispensable to success in all undertakings, but which will never be adequately encouraged till students look more frequently for the reasons of the procedures recommended to them, and teachers strive to gain influence with their pupils by showing them that what they recommend lies beyond their own minds--that it, in fact, has its foundation in the laws of Nature. Of the tongue, soft palate, and lips, which are the principal modifiers of the shape of the mouth cavity, the tongue has by far the most influence. When the tongue lies flat in the mouth, it may be considered to be in its primary position, and it is important that in singing and speaking the student learn to begin his voice-production with this organ in that position, or a slight modification of it, for it is only when it is thus placed that a tone at once round, full, and pure can be produced.