A note from the composer: What to include in a competition piece in 2011? One could write a virtuoso étude or a lyrical essay: but the judges will have dozens of pieces that demonstrate these virtues. I thought amore interesting piece would test a performer’s imagination intelligence and musicality by offering interesting new problems to solve. Hence this unaccompanied six-minute study I call Stomp. Stomp poses its player three problems; of ear style and coördination. First the violin’s outer two strings are tuned to non-standard pitches. This mis-tuning (scordatura) deepens theinstrument’s range and replaces the usual perfect fifths between strings with grating dissonances high and low. Second the piece is modeled not on classical precedents but on American fiddle music — bluegrass andjazz. And third as in fiddle playing the violinist must periodically stomp with his or her foot along with the music. So Stomp demands a theatrical mind an unerring ear and a delight in makingmusic with the entire body. It is supposed to be fun for the audience and a workout for the soloists. I can’t wait to hear them play it.

An Introduction to Folk Styles Technique and Improvisation-* This in-depth tutor book from renowned fiddle player and teacher Chris Haigh is perfect for classical violinists and fiddle players looking to master the art. * Covering all aspects of folk violin technique from ornamentation to modes and scales and from scordatura to improvisation and composition. * The book is centred around Irish traditional music but also dips into English Scottish Scandinavian East European Klezmer Cajun and American Old-Time traditions. * Accompanied by a CD of all pieces performed by Chris Haigh with a live backing band. Folk fiddle and classical violin are as different as chalk and cheese. At first glance folk might seem so simpleit?s hardly worth bothering with. The tunes are often no more than 32 bars long they stay in first position and they don?t even have a composer. However it?s what?s NOT written on the page that makes folk fiddle so interesting and challenging.This book attempts to explore from general observation down to the finest detail what the fiddler needs to know to bring these tunes alive. We need to understand their history and context their purpose their structure and pulse. And we need to be able to add all the stylistic elements that come not from reading the music but from years of immersion in folk music both listening and playing.Key areas covered include:* Tune types and structures * Ornamentation * Bowing * Modes and scales * Scordatura * Starts endings and links * Variation improvisation and composition Playing tunes in ?sets? * Regional and individual style * Playing in sessions for contests and for dancing