Senior Recital

Violin – Developed in 16th-century Italy, the violin spread across Europe and became the dominant bowed instrument in folk traditions worldwide. Played with a bow and capable of slides, drones, and ornamentation, it’s central to Irish and Scottish fiddle, Eastern European dance music, Scandinavian traditions, and American old-time and bluegrass. It often carries the lead melody and can shift between rhythmic bowing and lyrical phrasing depending on the tradition.

Kick (Bass Drum) – Descended from European military bass drums, the kick provides low-frequency pulse. Played with a foot pedal in modern kits, it underpins rhythm in contemporary folk, country, and folk-rock rather than traditional acoustic settings. It typically locks in with bass instruments to define groove and tempo.

Snare – Originating in European military bands, the snare uses metal wires to create a sharp, buzzing tone. It appears in pipe bands (Scotland/Ireland), marching traditions, and modern folk ensembles for rhythmic clarity. Its accents and rudiments help shape phrasing and transitions in ensemble playing.

Hi-hat (Hat) – A 20th-century jazz invention, consisting of two cymbals controlled by a pedal. It provides subdivision and groove in modern folk, Americana, and country styles. Subtle variations in opening and closing create dynamic texture without overpowering acoustic instruments.

Trombone – A slide brass instrument from Renaissance Europe, allowing smooth pitch changes. Used in Balkan brass bands and New Orleans traditions. It often provides counter-melodies or harmonic support with expressive glissandi.

Cornet – Developed in 19th-century Europe from post horn designs, the cornet became widely used in brass bands and early popular music. With a more conical bore than the trumpet, it has a warmer, mellower tone that suits lyrical and expressive playing. It played a key role in early jazz (especially in New Orleans) and in klezmer, where its flexibility allows for bends, slides, and vocal-like phrasing. It often carries the melody, shaping phrases with ornamentation that reflects the expressive traditions of both styles.

Clarinet (New Orleans Jazz) – Introduced through European band traditions, the clarinet became a defining voice in early 20th-century New Orleans jazz. Its wide range and fluid technique allow for fast runs, glissandi, and expressive bends, making it ideal for improvisation. It typically weaves around the trumpet’s lead melody in collective improvisation, adding ornamental lines and rhythmic energy that help shape the ensemble’s signature sound.

Washboard – A U.S. folk percussion instrument used in jug bands and early blues. Players use thimbles for articulation.

Banjo (New Orleans Jazz) – Adopted into early 20th-century New Orleans jazz, the banjo provided strong rhythmic and harmonic support in place of piano, especially in outdoor and marching settings. Typically a 4-string tenor or plectrum banjo, it is strummed with a pick to produce a bright, percussive “chop” that cuts through brass ensembles. It reinforces chord changes and groove, helping drive the collective improvisation that defines the style.

Upright Bass (New Orleans Jazz) – The upright (double) bass became a key foundation in early New Orleans jazz, evolving from earlier use of tuba in marching contexts. Played pizzicato, it provides a steady “walking” bass line that outlines harmony and supports the groove. It anchors the rhythm section alongside banjo or piano, giving depth and forward motion to the ensemble’s collective improvisation.

Piano (New Orleans Jazz) – Rooted in late 19th-century ragtime and blues, the piano became a central rhythm and harmony instrument in early New Orleans jazz. Played with a mix of stride-style left-hand patterns and syncopated right-hand melodies, it supports both accompaniment and solo roles. It helps define chord changes, drives rhythm, and often bridges ensemble playing with more structured harmonic movement.