The McClosky technique for vocal relaxation

1. Starting at the hairline and working down to the lower neck, gently massage the muscles of the face and throat. As you stroke downwards, allow the face to fall into as limp a condition as possible. Rub the fingers over the eyes, closing them. Let the jaw hang slack.

2. Allow the tongue to fall out over the lower lip as it might if you were unconscious. This means fall; do not push it.

3. This exercise is to relax the swallowing muscles. These are attached to the mandible (jawbone) from base to tip and converge upon the hyoid bone at the top of the larynx. To relax these muscles, use the fingers of both hands to press gently, on one side and then the other, the soft part of the throat between the chin and the Adam's apple, starting under the hinge of the jaw. Gently massage these muscles until they are soft and pliable, moving the fingers gradually until they are directly under the chin. In this position, swallow, and you will feel downward pressure in the throat. It is vitally important that this area be kept relaxed, soft and pliable during all phases of voice production. This can be checked so easily with the fingers that there is no excuse for tension here.

4. Now take the chin between the thumb and forefinger and move it up and down, at first slowly, then rapidly. If you have been able completely to relax the hinge muscles of the jaw, this exercise will give you no trouble. On first trying it, most persons find, however, that there is resistance in the jaw, particularly when moving it back to a closed position. Involuntarily their jaw muscles are inclined to stiffen. Not until you are able to move your chin freely up and down without the slightest resistance will you have accomplished the aim of this exercise. Maintain all of the relaxation you have established up to this point. Do not permit concentration on one relaxing exercise to cause you to neglect the others. Above all, take it easy.

5. With relaxation of the other areas in mind, take the larynx between the thumb and fingers of one hand and lightly move it from side to side to make sure it floats and does not click. Rigidity here is usually caused by too low or strident a tone of voice.

6. To be sure that the lower neck muscles are relaxed, allow the head to nod up and down lazily while you are maintaining all the other relaxations.

These techniques and graphics are taken from McClosky, D. B. (1978). Your voice at its best. Boston: The Boston Music Company. Used with permission.