Yeah, sounds like sex, but I was following a discussion at the Session, yesterday (“Drive” in melody playing, what is it and how do I practice it?) & after thinking about it I came to the conclusion that, for a melody player, 'TENSION... and release' is what it's all about! 

🤔... come to think about it, Alasdair Frazer talks about it in his workshops (check out Fiddle Hell). 

Anyway, I mentioned: 

The 1st beat in a measure is usually my main target, so I want to build up some tension to get to it. Music Theory can help push me toward that target - like I can substitute different subdivisions for the last beat (usually a weak beat) in a measure (more, smaller notes give the illusion of speed & visa versa) & I can try out different types of accents (metrical, dynamic, duration or pitch change [I should've said even more than one at a time]) where there wasn’t any. I feel a little variety is important (I’m still learning just where & when to apply this), because having every measure equally driving feels (to me) just as boring as having no drive.

I admire many fiddlers for their 'driving rhythm' & groove - and some are really great teachers!  Many wonderful fiddlers (I like) don't always talk about what they do it, so I just study their playing. 

It does help to know what to look for - techniques you might find your favorite fiddler using!  

Creating Tension and Release in Music - Music Composition - FIVE TIPS: rhythmic activity, tempo change, dynamics, vary texture, harmony/chords (Music Matters).

I've run across several BOWING techniques that cause

TENSION... and release! 

There's the 'updriven bow' (I've heard & seen it used, like it's a rare creature 🤣, in a few lessons & workshops) - btw, good idea to practice upbows & downbows equally! 

Niel Gow (1727-1807); this Perthshire fiddler is credited with creating the “up-driven bow” technique, ideal for playing certain phrases in the Strathspey. (Fiddling Around The World)

About the Arrow Stroke or Driven Bow Technique:
Arlene Patterson describes this technique in brief: “In the arrow stroke, or driven-bow technique, the first stroke is taken smartly down, leaving the up-bow to take the remaining three notes. Thus the complete movement consists of 1 down-bow followed by 3 up-bow pulses. Extra bow pressure is put on the third note of the phrase to re-emphasize the rhythm, hence the “driven” nature of the stroke. The last note, the 16th note is played staccato. So, one fast down bow, then take the next 3 beats or notes on the up-bow. It feels as if the up bow notes float or rebound from the strong “driven” down bow.” (Scotsfiddle.org PDF) - Scottish Fiddle Club of Colorado

There's tension in the beginning of the Scottish 'scrunch' and, kinda opposite with the Klezmer 'krekhts' - which abruptly stops a sped-up bow. 

So, MELODIC DISSONANCE is also a driving factor, causing tension!  You can choose dissonant combinations of notes that just feel like they HAVE TO MOVE ('resolve')!  Everyone always wants to quickly get away from dissonance & go to → harmony... now, we're also getting into cadence territory!  

There's dissonance other than 'melodic', or harmonic - dissonance from uneven rhythm, or layers of different rhythm.  Rhythmic Dissonance: Introduction - syncopation, as polyrhythm & polymeter, hemiola. 

How Rhythm Drives The Music Of Ace Combat 

There's MORE... step back in history!

Tension, Release and "Revolver"