The Canadian Grand Masters is an annual event celebrating traditional fiddling in Canada. Considered "the pinnacle of Canadian fiddling," the core of the event is a concert/dance on Friday evening, followed by the competition the following day. Upwards of thirty contestants are selected to compete from across Canada, considered to be the top exceptional fiddlers from each province/territory. The winner of the contest earns the title of Canadian Grand Masters Fiddling Champion.

History

Founding The Canadian Grand Masters is hosted by the Canadian Grand Masters Fiddling Association (CGMFA), founded in 1989.Thomas Grant Richardson, "Transplanted Tradition: Appalachian Old-Time Music in Contemporary Toronto," Ph. D dissertation, Indiana University, Indiana, 2019, page 108. Their mission is to support the preservation of traditional fiddle styles and recognize astounding Canadian fiddlers. In this effort, they elected to hold the first national championship the following year, originally known as the "Canadian Grand Masters Championship." For the first six years, the contest was held on Labour Day weekend before being changed in 1996 to the last weekend of August. The contest's purpose is to draw attention to and provide space for the traditional Canadian fiddling styles from across the country, while providing a space to showcase the country's top fiddlers. Aurora Fiddle Society member Teresa Watson noted that "it's also a chance to meet people who are significant in the fiddling world," adding that besides the space to perform, the contest is a major social networking event for Canadian fiddlers. According to the CGMFA rules, the recognized styles include: country, old time, Cape Breton, Swing, Métis, Bluegrass, and French-Canadian. Classical, jazz, blues, and similar non-traditional styles are not accepted.

The Event The Canadian Grand Masters competition weekend in recent years consists of a dance/concert on Friday night, and the preliminaries, finals, a junior showcase, and Hall of Honour Inductees ceremony on Saturday. The preliminaries feature each contestant performing their set in a randomly selected order. At the end of this section, the top ten will be chosen to play again that evening in the finals before the winners are chosen from them. Up until 2020, a top eleven performed at the finals, but this has been changed to a top ten in recent years. Their first ever contestant was Keith Ross of New Minas, Nova Scotia.

Besides the finals, the Saturday evening's entertainment also includes a showcase performance from the judges and the Junior Showcase. The latter features a small selection of young fiddlers from across Canada, chosen by the CGMFA, who play their own tunes of choice in a non-competitive environment. Many of these performers go on to compete in the main contest in later years.

Saturday's events also include the introduction of new honourees to the Canadian Fiddle Hall of Honour. Started in 2022, CGMFA board members voted to combine their previous awards of recognition (Lifetime Achievement, Award of Merit, and Canadian Fiddle Legends Award) into a Hall of Honour. Five to seven recipients are chosen each year to be inducted into the Hall at the Canadian Grand Masters competition.

+ Canadian Fiddle Hall of Honour Inductees Year Inductees 1991 Roma McMillan 1993 Bob Ranger 1996 Ned Landry 1998 Graham Townsend 2001 Bruce Wilson 2002 Conrad Pelletier 2003 John Arcand 2004 Webb Acheson 2005 Calvin Vollrath 2006 Brian Hebert 2007 Ivan Hicks 2009 Gordon Stobbe 2010 Peter Dawson 2012 Louis Schryer 2013 Alfie Myhre 2014 Denis Lanctôt 2015 Winnie Chafe 2016 Roy Warhurst 2017 Yvon Cuillerier 2018 The Ottawa Valley Builders and Scott Woods 2019 British Columbia Old Time Fiddle Association and Daniel Lapp 2022 Frontier School Division, Patti Kusturok, Anne Lederman, Garry Lepine, Mel Bedard, and Larry Martineau 2023 Lloyd Bogle, Natalie MacMaster, Buddy MacMaster, Bill Guest, and the Maritime Fiddle Association/Maritime Fiddle Festival 2024 Old Crow Community, Colin Adjun, Angus Beaulieu, Joe Loutchan, and the Northern Youth Ensemble leaders

Impact of the event and CGMFA By 2008, CGMFA became a national arts organization, showcasing its importance at a national level. Two years later, they achieved their charitable tax status. Canadian Fiddler Matthew Johnson also recognized the difference in atmosphere between the Canadian Grand Masters and other fiddle contests, noting the Grand Masters is more professional, with former president of CGMFA Bruce Cummings saying that the atmosphere is different largely due to its invitational nature, theatre venue, and structure.Sherry Anne Johnson, "Negotiating tradition in Ontario fiddle contests," Ph. D dissertation, York University, Ontario, 2006, pages 182-3. In its over thirty years, the Canadian Grand Masters established itself as the top-tier competition in the country. Several regional competitions and associations help sponsor their provincial representatives to ensure their best fiddlers are sent, including the Grand North American Old Time Fiddle Championship who award funds to their top three Albertan contestants. The event has become one of the highest honours to be invited to as a Canadian fiddler, with journalist Frank Peebles noting that "it's one of the hardest climbs in the Canadian fiddle world. Getting called to compete at the Grand Masters is a career watermark for any fiddler who gets their name on that coveted list."

Besides the competition, the CGMFA also organizes workshops throughout the year, promotes National Fiddling Day events, and also launched The Canadian Fiddler newsletter in 1993. The newsletters feature events, news on fiddlers and fiddling in the country, interviews, results, tunes, and upcoming events.

Since its incorporation in 1990, over 900 contestants have competed at the Canadian Grand Masters (including those who have competed multiple times). As of 2025, the vast majority (183) are from Ontario. While there hasn't been a representative for Nunavut, Colin Adjun from Kugluktuk, Nunavut represented the Northwest Territories in 1991 before the forming of Nunavut as an official territory. The 2025 championship suffered from one of the lowest contestant turnouts in the event's history, with several former champions and top 10 finalists failing to return, and only a small representation of fiddlers from outside the host province of British Columbia.

+ Number of Provincial/Territorial Representatives (as of 2025) Province/Territory Number of Contestants Newfoundland 10 Prince Edward Island 7 Nova Scotia 76 New Brunswick 87 Quebec 121 Ontario 183 Manitoba 128 Saskatchewan 117 Alberta 91 British Columbia 128 Northwest Territories 11 Yukon 6 Nunavut 0 Dual Citizens Outside of Canada 3

Format

The championship consists of upwards of thirty contestants. This number depends on the amount of representatives chosen from each province/territory who are able to attend. Each contestant must be a Canadian citizen or permanent resident and be a member in good standing of the association. It is a closed championship, meaning that contestants must qualify according to the contest's eligibility criteria to compete. The contestants chosen by their respective provinces and territories are considered to be fiddling experts.

Prior to 2025, contestants were eligible for the annual competition by the following methods: Invited by the CGMFA to be a provincial/territorial representative. Finished in the Top 10 the previous year. Past champion of any year since 1990. At the decision of the board of directors.

Each province/territory is allowed to send up to five contestants each year, although the host province/territory can send seven.

As of 2025, the selection rules reduced the number of invitations based on performance, instead opting to include a mixture of top fiddlers and an audition process for the event, with an emphasis on the national board being the selection committee as opposed to provincial entities. Currently, fiddlers can be selected to compete based on the following criteria:

Finishing in the Top 5 in the previous three years (as opposed to the Top 10) Prior winners of the competition Competitors chosen by the board via video submissions Persons deemed by the board as 'Iconic Canadian Fiddlers' Players who competed at the previous year's competition

During the preliminary round, contestants play a waltz, jig, reel/breakdown/hornpipe, and a tune of choice (that is not a waltz, jig, or reel) in any order in under 5 minutes. Unlike the American National Oldtime Contest in Idaho which uses closed judging (having judges in a separate room to counter visual biases), the Grand Masters uses open judging where the judges sit on stage and listen to the contestants as they play with no additional audio equipment for aid. These three judges will then judge the contestants on intonation, technical ability, danceability, overall accuracy, emotion/feeling, and variety. The top ten from their marks will then proceed to the finals.

Those chosen for the finals must play a new set of a waltz, jig, reel, and tune of choice. In the event of a tie in the top three, those tied will play another set of three tunes in 4 minutes and be judged again.

Diversity and representation

Gender Although issues with diversity amongst the fiddle circuit go beyond the Canadian Grand Masters, research on the event highlights issues it faced with gender, especially in the 1990s.

Examining the culture of fiddling contests in Ontario in the early 2000s (which includes the Canadian Grand Masters, as it was held in Ottawa annually until 2013), Sherry Ann Johnson interviewed women fiddlers to understand if gender impacted competitions. Although Johnson notes that most did not experience any limitations based on gender, fiddler and judge Karen Reid said that there was a "definite old boy's school attitude" when it came to contests, with several comments made to her about being "good for a girl."Sherry Anne Johnson, "Negotiating tradition in Ontario fiddle contests," Ph. D dissertation, York University, Ontario, 2006, pages 298-9.

Johnson notes that since the 1970s, women fiddlers were often discouraged from competing in championships and open groups due to perceptions of gendered skill differences and a lack of role models.Sherry Anne Johnson, "Negotiating tradition in Ontario fiddle contests," Ph. D dissertation, York University, Ontario, 2006, pages 299-306. Women winning champion titles were often treated as unordinary and unexpected. In terms of the Canadian Grand Masters, Johnson also highlights instances where perceptions also influenced the judging. In 1997, one judge's top eleven were all women, and he was asked to change his marks.Sherry Anne Johnson, "Negotiating tradition in Ontario fiddle contests," Ph. D dissertation, York University, Ontario, 2006, page 308. In the end, the top eleven that year were made up of ten men and one woman, April Verch. Verch won the championship, and also won the Canadian Open the following year. Verch noted several comments were made to discredit her wins because of her gender, such as "it's time for a woman to win, so that's why [you won] it."Sherry Anne Johnson, "Negotiating tradition in Ontario fiddle contests," Ph. D dissertation, York University, Ontario, 2006, pages 307. Johnson concludes with the belief that the stereotype of women being weaker fiddlers no longer exists.