Scott Shelsta, trombone soloist

What They Said

Turning the Trombone Into a Horn of Plenty.
"He played with beautiful tone and consummate musicianship. The performance was spectacular."

— Ed Roberts, Washington Post

About the 1890s re-enactment: "He tells about playing with Sousa and other bands in the 1890s, and Shelsta's trombone solos were stupefying."

— Paul Carpenter, Chicago Tribune

"Scott Shelsta is a superb musician who is able to perform the most difficult solos with ease. He thrills an audience with his blazing technique and possesses an affable demeanor which endears him to his listeners. It is a joy and a pleasure to conduct him in concert. He truly ranks among the finest soloists of our time."

— Colonel Arnald D. Gabriel, USAF (Ret)

"You have developed a great niche to showcase your tremendous talents, and more people who appreciate great trombone playing should have the opportunity to witness your artistry."

— Colonel Verne Campbell, USA (Ret)

Learn the tricks of the trade!

Scott Shelsta offers useful tips based on his experience as a performer, soloist and teacher, in clinics designed for students and performers of all levels. His clinics are particularly relevant when offered in conjunction with solo appearances.

Clinic Topics

THE ART of the ACCOMPANIMENT:
conductors and performers


Within our art of playing, this is the most misunderstood. So often, concerts are put together without considering all the possible issues during performance. Accompanying is a true art form. The soloist must have the ability to cue the conductor via movements of his or her instrumental and bodily movements. Coming back (from the front of the stage) to the Conductor's box is the ultimate cue and will be discussed in detail. It is a FAIL PROOF SYSTEM of communication between the Conductor and Artist. The big secret is that it works.


TROMBONE CLINIC:
students, teachers, performers of all levels


Details of how to play are often given but seldom heard in depth. Trombone playing is a world unto its own. Efficiency is the ultimate goal of all performers, but making things look and be easy are essential. The approach to the stage position and how you leave the stage are never taught in schools. Only practical on the job training lets this become a reality. You have all heard the saying, "Soloing is a complete different bag." This alone is an endless topic. Being prepared and having a positive attitude are discussed mutually and diagnosed.


BRASS CLINIC:
students, teachers, performers of all levels


So many trombone issues can help all the other brasses and woodwinds too. Whether it is accompanying or playing your chosen instrument, all constructive practice and performance ideas are universal. The difference is having the correct information for the specific task. Remember, you can only solve and/or do ONE thing at a time. Anything beyond this is automation. This is why we practice given routines by our teachers. The "Rule of Four" comes into play over and over. Basically four times per day on any assignment guarantees that you will have a given passage memorized in one week. Your teacher will be hearing you play it the 25th time.