Associate Professor of Percussion at the University of Memphis Rudi E. Scheidt School of Music, Dr. William Shaltis is Principal Timpanist of the New Hampshire Music Festival Orchestra, the Boise Baroque Orchestra, and regularly performs with the Memphis Symphony Orchestra. Formerly, he served as the Principal Timpanist for the Boise Philharmonic Orchestra, Principal Percussionist of the Evansville Philharmonic and Owensboro Symphony, and was a faculty member at Missouri Southern State University and 
the University of Evansville.
A proud performing artist/clinician for Grover Pro Percussion, JGpercussion, Remo, Yamaha, and Zildjian, Dr. Shaltis is a sought-after clinician and performer throughout North America, Europe, and China. He has performed and presented at numerous state, Midwest, National Association for Music Education, and Percussive Arts Society International Conferences; as well as at Day of Percussion events and universities throughout the country. A co-founder of the annual Two Rivers Timpani Summit, Dr. Shaltis is also the creator of the video podcast series Good Beats (tips for music educators), and The Solo Timpanist; and his debut album, Essence/Descent, features premiere recordings of 21st century solo and chamber timpani repertoire, and is available on major streaming platforms.
When did you begin studying music and did you always study percussion?
I started studying piano when I was five years old. I wanted to play drums first, but my mom was adamant that I study piano until I was seven, then I could decide if I wanted to study both or switch to drums. As soon as I turned seven, I switched to drums – starting with snare drum and drum set, and played in school bands starting in fifth grade. I’d say I got really serious with music as a potential career around junior year of high school. Every Sunday in high school, I’d go to Ann Arbor to be a part of the University of Michigan youth concert band. In the summer of my junior and senior years, I attended the All-State program at Interlochen, which was where I absolutely fell in love with the art of percussion. In hindsight, I definitely regret not staying with piano, too!
What made you choose percussion?
I was always tapping my fingers or playing on various household objects, so I’m not so sure, but I think percussion chose me! I’ve always liked rhythm and the colors of sound, so it’s been the right fit.
Who were your primary teachers?
From age 7-18, my primary teacher was a man named Doug Bushong. Doug taught drum lessons at a music store in Jackson, MI. We focused primarily on drum set and snare drum, but when I got serious, we’d have lessons at Jackson High School, where they also had timpani and a marimba. At Michigan State, I studied with Alison Shaw, who is now at the University of Wisconsin-Oshkosh; at Boston Conservatory, it was primarily with Pat Hollenbeck, Sal Rabbio, John Grimes, and Nancy Zeltsman; and at UMKC, it was with Jim Snell and Chris McLaurin.
When did you decide to pursue a career in music?
My junior year of high school, specifically after playing the timpani part for Shostakovich Symphony No. 5. I was also inspired to go into teaching because of my excellent band director, Beth Bousfield, and my dad, who was a science teacher at my high school.
Did you have a specific goal?
Initially, I thought I wanted to teach high school band, so I went to Michigan State and majored in Music Education. However, as I was finishing the degree, my heart was still in performance, especially playing timpani, so I decided to continue on with my masters in performance with the goal of landing a job with an orchestra. I knew my dream scenario would be to play professionally with an orchestra and to teach at the collegiate level simultaneously.
Do you focus on a specific area of percussion?
At the moment, no. I teach holistically, so I do my best to keep my chops up on everything I teach, which are primarily any Western percussion instrument used in a typical concert band or orchestra. During my masters, I was laser-focused on winning an orchestral job, so I primarily focused on the major percussion instruments and timpani. I will say, if I had to name an instrument that I would label as my favorite to study and perform, it would be timpani.
Who impacted your musical growth the most?
I’ve been fortunate to have a lot of great mentors and teachers throughout the years, so it’s difficult to say that there’s one person who impacted me the most. If I had to pick, I’d say that because my parents gave me the support and encouragement to pursue music, that they were the most instrumental in my growth and ability to pursue music as a career (pun definitely intended).
What teaching positions have you held?
I student taught at Mason High School in Mason, MI. Professionally, I have taught at the University of Evansville (IN), University of Missouri-Kansas City, Missouri Southern State University, and the University of Memphis.
What percussionists have inspired you the most?
I would say Alison Shaw, who was my professor at Michigan State because she laid the holistic foundation, encouraged me to pursue my goals (like participating in a solo timpani competition in Paris), and provided a great blueprint for running a percussion studio in higher ed; Sal Rabbio and John Grimes at the Boston Conservatory were extremely important for my growth as a performer, especially the expectations of playing in professional orchestras; Jim Snell at UMKC because he gave me the finishing tools to succeed as a teacher at the university level, particularly with inspiration on how to work with graduate students effectively.
Is there a specific genre you enjoy performing most?
If you asked me now, it would be Western art music: chamber or orchestral. If you asked 18 year-old Bill, the answer most definitely would’ve been rock, especially bands from the ‘70s and ‘90s.
What composers do you identify with?
I have my favorites! Steve Reich because I love the simplicity and intricacy of his compositions. Beethoven because he laid the groundwork for timpani performance. John Williams because of the grandeur and how much fun his music is to play in concert. If I’m going to slightly zag, I’d say my favorite rock bands, ones who treat song-writing as compositions, are Radiohead and Tool.
Do you get nervous before you play?
It depends on the situation. I notice nerves much more when I’m playing a solo recital than when I play with an orchestra. My best practices have been to make sure that I am well-prepared and have performed the rep several times in the practice room before playing it live (mock recital or mock audition); to make sure I’m taking care of myself (sleep, drink water, eat well); to focus on deep breathing; and to remind myself that the audience is rooting for me, that they want me to succeed, and that I’m the same person before and after the performance.
Do you ever make a mistake while performing?
Absolutely! I used to ruminate on it much more when I was younger, but I’m still aware of them. One of the best pieces of advice I heard was from Principal Percussionist of the Atlanta Symphony, Joe Petrasek: The goal isn’t to perform perfectly, the goal is to perform optimally. As a mindset, I think that’s a fabulous perspective! There are so many factors that you can and cannot control. Meaning, control the ones that you can, and don’t worry about the ones that you cannot.
Has your practice regimen changed from when you were a student?
I generally have less time to practice today than when I was a student, so I’d say not much has changed, other than I’m more efficient. After a solid warm-up (usually eight on a hand exercises or scales/arpeggios), I’ll work on whatever technique is needed at the moment: if I’m playing triple laterals on marimba, I’ll work on those; if I’m playing a work on timpani that requires a lot of pedaling, I’ll work on that. At this point, I generally don’t focus on a particular technique unless I need to use it.
How do you define a good musician and a good teacher?
I would say that both good musicians and good teachers should inspire and help you to grow. Good musicians have something interesting to say, are clear with their musical intentions, and connect with others through music. Good teachers are good coaches, are constantly learning and growing themselves, and deeply care about their students.
Do you think that performing and teaching are intrinsically intertwined?
Not necessarily, though I think it helps when it is intertwined. As a teacher, it is immensely useful when you can demonstrate the concepts that you are hopefully imparting to your students – this includes in lessons, recitals, concerts, etc. But I don’t think you necessarily need to teach as a performer.
Has teaching made you a better musician?
Definitely! More and more, students are asking why questions. For instance, Why do you hold the mallets like that? Why does your stroke velocity change? Why do you practice the way you do? And on and on. As a teacher, I better have a good reason for why I do what I do and preach what I preach! Teaching helps me think more critically about the art, and in turn I’m constantly inspired by the artistic and personal growth of my students.
Knowing what you know today, would you change how you prepared for your career?
I would’ve listened to my mom and stayed with piano lessons, for sure. I think that when I got to college, I was behind with music reading and things like four-mallet marimba. Other than that, I’m very happy with where my career has led me. I wasn’t afraid to take risks, to be creative, and to be persistent–all keys for growth and success. I’ve been focused on a career playing in orchestras and teaching in college since undergrad, and thankfully I was prepared when certain opportunities presented themselves. This doesn’t mean it was smooth sailing, though! I probably took around 50 orchestra auditions and applied to 20 colleges, and I definitely heard no more than yes. But I think my persistence and focus, over time, allowed me to develop thicker skin and to work on controlling what I could control in my teaching/performance career, leading me to where I am today.
What words of wisdom would you like to share with students?
First, have a general idea in mind as to what you want to do. You may not end up doing exactly what you thought you would. But you need to begin with AN idea and A plan. Steve Jobs, the founder of Apple, had a great quote:
You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something – your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.
The next steps are faith, hard work, and persistence. As difficult as it is, don’t focus on the negatives: There are no orchestra jobs. There are no teaching jobs, etc. Those are extrinsic things that you can’t change, and you also can’t predict when/if those situations will change. Instead, focus on what you can control: your practice and dedication to your craft; finding or creating teaching/performance opportunities (YouTube channel, podcast, Twitch, IG, writing books, composing, recording, performing at schools/churches/community centers, giving clinics at schools/universities or at conferences, applying for grants, etc.); reading up on industry best practices, and so on. This may be one of the best times to be alive as an artist, in the sense that it’s possible to bypass the traditional gatekeepers to a career (a label, a publisher, a wealthy patron like the Esterhazys). The path will not be straight…as Price Pritchett said in his book, You2: If you send a rocket to the moon, about ninety percent of the time it’s off course—it ‘fails’ its way to the moon by continually making mistakes and correcting them. But eventually, the rocket DOES get to the moon! Faith, hard work, and persistence.
