Jean-Francois Desrosby – A Musical Journey from Undergrad to Doctorate

This is a guest post by Jean-Francois Desrosby, look for his biography at the end of this article as well as a link to his website and his excellent new recording.

Quick links: Artist Website, Buy or listen to samples of his recording, Blog, Brad’s Review of his CD

I’ve been approaching artists asking if they would like to write articles for the site. This was a subject that I thought would be a real treat for readers. I’d like to thank Mr. Desrosby for writing such a wonderful article that I’m sure will inspire many readers. Please keep track of his website and blog for great articles from this excellent guitarist. -Brad

A Musical Journey from Undergrad to Doctorate
by Jean-Francois Desrosby

When Bradford asked me if I would be interested in writing about my journey through musical education from undergrad to Doctorate, I was wondering if someone could really be interested. Upon reflection I thought that maybe yes, because my background is not traditional.

First, I was not destined to become a classical guitarist. When I started on guitar, I was quickly fascinated by the work of Clapton, Vaughan, Hendrix, Mike Stern and Scott Henderson. With the group I had formed at the time and that included my brother on bass and three other colleagues, now all active as professional musicians, I played in festivals, bars (yes, despite our youth) and other concerts. Living in remote areas, I had trouble finding a good guitar teacher. The only one I found was a classical guitar teacher. It was he, who, by lending me a recording Barrueco, Bream and Williams, introduced me to classical guitar.

I quickly became hooked. However, within a year I had to choose a field I would pursue for post-secondary education, I saw the guitarist Rémi Boucher in concert. After this concert, I decided to study guitar. Having always excelled in math and science, my parents questioned my choice, but he encouraged me still seeing the passion that animated me.

I then had the chance to meet some extraordinary professors at Cégep Ste-Foy. Thanks to dedicated teachers such as Jacques Chandonnet, Isabelle Heroux, Claude Gagnon and François Leclerc I could continue to develop myself. In my second year at College, I had to choose whether to continue my university studies in jazz or classical guitar. I was still a hybrid guitarist at that time…

Isabelle Heroux challenged me to be admitted to the Conservatory of Music in Montreal, at this time one of the most prestigious institutions in Quebec. Finishing in first place at the entrance audition, I tried my luck at that institution.

I spent five years studying under the tutelage of Jean Vallières. Jean was a great teacher even though we had completely opposite viewpoints on many issues. Let’s say I was not quite the typical profile of a student of the conservatory – a side improviser, a little rebellious. Jean taught me discipline, but also to effectively structure my ideas, but also to defend against criticism and this contributed greatly to my technical development. He tried as best he could to make me into the typical mold of traditional classical guitarsit without success but the highly competitive environment of the Conservatory pushed me to push myself. I finally got the Conservatoire prize with distinction on my jury under Rémi Boucher, Stephen Robinson, and Eli Kassner.

After my final guitar exam at the Montreal Conservatory, Rémi Boucher invited me to study with him. I was fortunate to receive a grant from the Council for the Arts and Letters in Quebec allowing me to follow two years of private lessons with Remi. During these two years, I could really use my potential. Remi is a human being and an extraordinary musician for whom the word impossible does not exist. He inspired me to push my limits and musical technique, trying to emulate the phrasing of violinists, pianists, and singers on guitar. I felt comfortable to use my ideas and he did not hesitate to use new techniques or new ways to achieve musical ends. Let’s say that we understood each other well!

One year after completing my studies with Remi and being in a technical and musical climax, I decided to register for competitions. Unfortunately, a fall while cycling combined with excessive practice causing micro-injuries, I developed a Quervain tenosynovitis of the left thumb. This injury has slowly degenerated to the point not only to prevent me from participating as planned in competitions, but forced me to completely stop the guitar. I had to cancel all my commitments, my projects ?

My ordeal lasted over a year-and-a-half of slow recovery. Things were going slowly and I began to think seriously of reorienting myself career-wise. A doctor then told me that I never regain my abilities. This motivated me to prove him wrong. I then had the chance to meet Marc Papillon, kinesiologist Musician’s Clinic in Paris, which opened my eyes to the biomechanical principles that come into play in instrumental practice. Thanks to his advice and the books he told me to read, my rehabilitation was came quickly.

While I could play only thirty minutes a day, I decided to complete my Doctorate in Music Interpretation. I auditioned and was accepted in the class of Peter McCutcheon at the University of Montreal. Two months after my audition, I recorded my first CD, a project that I had to stop because of my injury. Aware of how lucky I was to play again, even though I am not yet fully recovered to 100%, I decided to play my way without compromise and to include music of the composer Pascal Sasseville-Quoquochi with whom I worked in teh past years and who waited for me instead of seeking another interpreter to play his music.

I decided that my doctoral research on human biomechanics applied to musical performance. I wanted to apply the biomechanical principles not only to injury prevention, but also to optimize the technique and the release of limitations. I had to take into account the psychological side of performance and incorporate the principles in my research because I realized that this greatly influenced the quality of performance. I was lucky to get a great support of the faculty of the University of Montreal who seemed excited about my research. Peter McCutcheon then head to the side interpretation of my D. Mus. was the first to test with me the results of my research and tell me about these ideas. I was fortunate to receive grants from the Graduate Studies Committee of the University of Montreal and the Canada Council for the Arts which enabled me to devote myself to my work.

During my doctorate I not only found 100% of my abilities before my injury but I was able to increase my potential for a lot. Almost a year before finishing my D.Mus, I got the guitar class at the University of Sherbrooke (September 2010) where I teach. I’m teaching the principles developed in my doctoral research. In this regard, I write a blog on my website dealing with some basic principles and I’m working on publishing a book on the subject in addition to giving master classes and lectures. In May 2011, I officially completed my doctorate that combined my passion for music, my passion for science, my curiosity and my anti-conformist side. I played the piece with which I got injured question of closing the loop.

Advice I would give to someone who wants to engage in post-secondary studies in music: Persevering despite the obstacles, find a good teacher and school, consider your differences as an advantage and finally always remember why you chose to make music.

Jean-Francois Desrosby

Artist Website // Blog // Buy or listen to samples of his recording

Biography:

Jean-François Desrosby is a Canadian guitarist recognized for his exceptional musicality and ala rock star energetic style. His ability to captivate his audience and his impressive virtuosity have earned him many rave reviews:

«He has much of taste and the true meaning of music. »

Irène Brisson (Infopéra, déc.2009)

«Within a few seconds of the Rossiniane getting of the ground, it became abundantly clear that whoever chose the term energic wasn’t kidding… no doubt that we’re in presence of a guitarist who can send out lot of notes within an impressively narrow timescale…» Paul Fowles(Classical Guitar Magazine, April 2010)

«…sometimes equaling the energy of a rock band – move aside Hetfield! …Desrosby has exceed my expectations and confirmed that Canada has a new level of upcoming high quality artists.» B.Werner (Classical Guitar Canada, august 2010)

«…such a high artistic level, with so much purity in interpretation and such an ability to captivate his audience.» R.Servin-Medrano (Dir. International Guitar Festival of Ixtlahuaca, Mexico)

His career as a soloist, chamber musician, and teacher has led him to perform in Europe, Mexico, United States, and Canada. Jean-François is also teaching classical guitar at Sherbrooke University in Canada.

He won numerous prizes and scholarships. He has received recognition from the Canada Council of Arts, Conseil des Arts et des Lettres du Québec, Office Québec-Amérique pour la Jeunesse, Office Franco-Québécois pour la jeunesse, Wilfrid Pelletier Foundation and Montréal University.

Having always been fascinated by science, Jean-François has undertaken research on biomechanics and psychology of performance. As part of a Doctor in Performance at the Montreal University, he worked on optimizing the technique for classical guitar by a biomechanical and psychological approach. His work will be published soon in addition to lectures and master classes.

He is constantly looking for new repertoire, which led him to collaborate with composers such as Pascal Sasseville-Quoquochi which he created and performed several of these Totems for solo guitar. Three of them are dedicated to Mr. Desrosby (Kaos, Musko and Mahikan). In addition to new music, Jean-Francois is particularly interested in the Spanish, Romantic and South American repertoire. Recognized as a musician mastering several musical styles, he also enjoys exploring compositions that incorporate elements and techniques drawn from jazz, improvisation, rock and world music.

His first recording includes works by Giuliani, Moreno-Torroba and Sasseville-Quoquochi and received rave reviews.

He holds a Doctorate in Music Performance (D.MUS.) from the University of Montreal (research topic: Optimizing the performance on classical guitar with biomechanics and psychology dir. Peter McCutcheon) and he also graduated with high distinction from the Conservatoire de musique de Montréal (prof. Jean Vallières). he worked with notable musicians, including Rémi Boucher, Manuel Barrueco, Pavl Steidl, David Russell, Aniello Desiderio Scott Tennant, William Kanengeiser and Fabio Zanon .

He is playing exclusively on Savarez strings.