"Origin Of The Arceneaux Approach: The Seeds"
*Names have been changed to protect identities*
With each passing semester at Xavier University, I grew more confident. By my Junior year, I had transformed into a completely different person. My vocal prowess and my self-esteem were in symbiosis - as one grew, so did the other. I was being told repeatedly by staff and by fellow students that my voice was special, unique in its richness and resonance. Sure enough Dr. Butler's techniques had added a lot of thickness to my sound and I felt more consistent. So... when I was cast as "Ned", the lead Baritone role of Scott Joplin's "Treemonisha", I felt like I kinda... deserved it (sounds like a jerk thing to say, but - honestly - I worked REALLY hard.)
While things had much improved, all was not perfect in my music world. My classical training had gotten me a powerful voice. The problem: when I tried to apply these same concepts to Pop, R&B, Gospel, or Musical theater... I sounded like a confused opera singer. There was one especially HORRIBLE experience that I recall. It was the day I decided to apply my classical training to my gospel singing at church... I had been selected by the choir director to sing the lead for "Order My Steps." I stood up. I took my low diaphragmatic breath, opened my throat, and tightened my abs. The resulting sound was strong but very much so out of place. After church, many members of the congregation asked me, "What happened?"... I took that as a VERY bad sign. So, I quickly began the habit of switching techniques. At school, I would use my Classical training, and at church I would use Speech Level Singing Technique. Neither technique left me feeling totally satisfied, but I seemed to be able to impress my respective audiences.
Eventually, the switching back and forth began to take a toll on my vocal health. As a result of my classical training, my voice had gotten larger but far less agile. My vibrato - previously free and steady - had turned into a slow wobble that frequently caused my pitch to go flat. The ONLY instruction that I was given to solve this problem... "Give it more support." It was Dr. Butler's answer for everything... Running out of breath, during a phrase? - "give it more support", Struggling to reach that high G? - "give it more support!". I squeezed and squeezed my abs, exhausting myself for only minimal and temporary(at best) improvement. I would be soaked with sweat by the end of my voice lessons. And not only was I going flat, but I was losing range. Notes, that were once very comfortable, now felt so far out my reach. Even singing middle C became a challenge. I knew enough about vocal pedagogy to understand that these were NOT good signs, but, at this point, I still trusted my voice teacher. After all, he had SOOOO many degrees. With all of his education, how could he not have the answers to my vocal problems?
So, I set up a student-teacher meeting to discuss my concerns. I nervously presented to him my dilemma. His response to me: "You're not working hard enough." Almost instantly, something in me snapped... "Really?", I responded - My question motivated more by shock and offense than by a real desire to hear his answer. "Of course. You've gotten relaxed. How many hours do you spend in the practice rooms per day?", he asked in a condescending tone, literally looking down his nose at me through his glasses. "Well I'm not in there all the time, but I do A LOT of practicing at home," I replied defensively( but I was being honest). I couldn't believe that he was saying that this was MY fault... that I wasn't working hard enough. I may not have been the most talented singer in the music department, but - without a doubt - there were few who could rival my work ethic. Though I was only 19, I was perceptive enough to understand what the real issue was... He had no idea how to fix my problems. I would later learn that a true Master Voice Teacher knows many routes to get his students to the right destination. Dr.Butler only knew one. And, for me, that route was a dead end.
Dr. Butler taught a commonly accepted vocal method, which is based around the following basic concepts: An open throat is achieved by consciously lifting the soft palette and simultaneously lowering the larynx. You then proceed to inhale through this "open" throat space and fill the torso with air (though, usually, there is extra emphasis on stomach expansion). Finally, you contract the abdominal muscles as much as possible and squeeze the breath from your body through the "open" throat space. The idea is akin to squeezing a tube of toothpaste from the bottom to get all the toothpaste out, but - instead of toothpaste - your attempting to squeeze out your full sound. Many universities in America consider this a healthy technical foundation for any vocalist.
What were the problems with this method? The student tenses up the neck in an attempt to "open". The root of the tongue pushes down on the larynx and the vocal folds, making it impossible for them to vibrate freely. The stiff soft palette makes true resonance and proper vowel formation almost impossible. Couple all of this with the fact that, at the same time, you are squeezing your abs with all your might. If the abs over-contract, then the valsalva principle occurs (like when you're on the toilet and bear down... crude reference, I know. But it's the easiest way to make you understand). It closes the throat shut... So, in essence, you're trying to force your throat open, while your stomach is trying to force your throat closed. The result, a big throaty sound, that some find appealing. But there are significant vocal disorders that can occur, including(but not limited to) cord thickening/loss of range, register imbalance, vocal fold tearing, and nodules.
I realized that I was in a situation in which I was going to have to help myself. I had been told that it was "unethical" for a student to work with two voice teachers at the same time. I respected this idea, with the consideration that the first voice teacher is doing his job well. In my case, in order to get my degree, I had to stay with my current voice teacher. But, on the other hand, I also had a duty to myself to protect my voice. So, secretly, I sought outside help.
Over the month long Christmas break, I threw myself obsessively into hours of non-stop research. I purchased tons of books and read anything that I could find on the internet. To top it off, God blessed me with guides and mentors... men and women who knew the most cutting edge new techniques and the proper execution of old techniques: Amazing teachers like Randy Buescher, Mary Beth Felkner, David Mailisaint, and Earlin Vincent, to name a few. These people encouraged and guided me in my studies. Best of all, they helped me dive deeper into the ever evolving world of voice science. I learned the theoretical and factual foundations that inspire the creation of vocal techniques and exercises. Once I understood the goal... I could create my own paths to reaching it. I started to draw heavily from my older brother's Kung Fu training - modifying the exercises accordingly based on scientific knowledge and also trial&error. I melded a variety of Eastern concepts with Swedish/Italian concepts of body connection. I found a middle ground between the two, that became my foundation. These were the seeds of what I would later call "The Arceneaux Approach." I combined my new breathing/body connection techniques with new vocal techniques. The result... Not only did my voice fully recover, but, for the FIRST TIME, I had consistency - a voice that I could rely on (for both classical and contemporary singing).
When I returned to Xavier University for the spring semester, everyone noticed the change. I was happy to learn that people were talking about me behind my back... "Did you hear Eric at the rehearsal? What happened to him? He sounds great!" My classmates and my voice teacher all assumed that I had simply begun to achieve some level of mastery over the technique that I was being taught. No one had a clue as to what I was really doing. And I didn't plan on sharing my secret anytime soon. They were all talented enough; this was MY edge. And I was thoroughly enjoying being one of the top dogs.
When it came time to perform my role in the opera,Treemonisha, I was still getting used to my new techniques. And on opening night... I sounded great. On the second night, I sounded even better. By the third night... I knew I was on to something big. For the first time in my life, I truly enjoyed the act of performing. I didn't nervously hold on, praying to make it through. I relished the moment.
...To one person, however, the transformation in my voice was too dramatic to be ignored. He wanted to know what I had done, and he was willing to make me an offer. I was about to share my secret technique for the first time, and my life would never be the same.
Next time: Chapter 6... "Eric, the Vocal Coach?"