2 Revised Eéition Caprices. N. PAGANINI. ‘With exception of the notes specially marked (f) this Caprice is to be played messa voce throughout. Only 80 much of the middle of the bow to be used as is necessary to set the strings into vibration. It is very difficult to produce the accented notes with the necessary precision and nicety, owing to the rap- id tempo of this Caprice. ‘This accentuation must never interfere in the slightest degree with the tempo at which the study is taken Not only must the various bowings be executed with the greatest rapidity but with absolute distinctness as well (For comparison, see my “Violin Method”, Parts I and II and my edition of “Kreutzer’s 42 Studies", re- vised in accordance with modern demands. Published by Carl Fischer, New York.) Presto, z Not. (no 46) TSF 7 r 7 mS 7 * The amall figures in brushetsindloae the numbering and onder of euecossin in th orginal ton ofthe Published MOMEI! by Cart Phe, HY, Caprices, $5529 -53f fi Giat?bom : —3 okt dBi oee 5 yo 4 t p : > = ——r—s—SSsi eres—sesSesFiC For suitable preparatory studies for the following Caprice, see my Violin Method, Part II, Virtuoso-Technics as well as my‘Systematic Seale Studies” Book II, Seales throughout four octaves. Pea ’ £ NO 2. =H (9 5) + zs 7a See tytteta Pete thf 00 8 S boi pa I 15592 = 524 Up-and down-bow Thrown Staccato. Agitato, n agers Finite suze -58In order to produce the three-part chords to best-sounding advantage, the player should endeavor to obtain a firm hold upon the middle string with his bow. The pressure of the latter must always remain elastic inorder that the beauty of tone may not be marredor destroyed. The Zresto to be played with firm, clinging bow. Andante. —, = — SS NO35 Sees (NO 11) t, (Whole bow) 18503-68Presto. : Ea 3° Tuait oo dbitdeottow and postion esFLYING STACCATO. The bow, held with thumb and forefinger only, is thrownupon the string at a point ubout one quarter of ite length from the tip, In order to produce this flying staccato with elear and absolutely distinet. precision, the greatest eare should be bm adview for mastering this variety of staccato bo in string transfers. For detailed consult my Violin Sehuol (Virtuoso - Technies,) Book IL ffs. No 4. eS ee fmartellata !10 Posato stace NO5. (no 15) Yirvin . Mlelv Pues : tf ‘saneeenerT » with thrown bow as employed in the preceding Caprice, but covering a more extended Flying stac range of notes 1522-52,12 The melody in the Amoroso must be played with the utmost expressive feeling. In the Presto the flying staccato with thrown bow again demands careful attention. To be studied with both sets of fingering. Of the two, the lower fingering is preferable as its use enables greater clearness and precision besides avoid - ing continuous shifting of the fingers. 1 i Bae aesSS,2 3.80 1 va Mee oe 3 3 Ff 4 gaa 8 +) Shifts in Fourths. See my Systematic Scale Studies, Book Il, as well as Preface to my edition of Kreutser’s Statice ‘+# The lower fingering will enable olearer execution. 1522-5213 s88as - 69” In the AMinore the flying staccato ay described on page 8 (Caprice N2 4) and the detached sixteenths in the middle of the how with rebounding strokes. Marcato i s6se2- 62Moderato assai. 1 NO 8. (No 7.)pig i adsModerato myn. St LOY rin : simile 3 y 2 ot = +) For playing of the three-and four-part chords, met with in this Caprice, see remarks to Caprice 8 (page 5) For extended information as to correct position of the hand for these eaprices see:"The Study of Pagutini Twenty-four Cap- rioos!"a new descriptive treatise bused upon Paganini secret methods, explaining how these famous studies can be mastered by ull Violin players, Bepectatly designed for violiniste with small handa by ‘Emil Kross, Price 75€ net. (Carl Fischer.)‘The chromatic double-stops to be played with absolute clearness and faultless intonation, The detached sixteenths with the middle of the bow, lightly thrown, Allegro. |< —— et, U g Fine © mn 7 r De. m1. sonsa replica s522-5219 See foot-note to Caprice No.® in reference to correct position of the hand. All the string-trunsfere with greatest potsible wecurey and clearness Allegro. a NO11. (NO 12) P sempre lngata20 mt uo =e sip pee> UL 1o22-62The B major parts of this Caprice are played with light strokes at the lower third of the bow. The three-and four-part chords of the E minor parts are to be played with strength and decision, although the two staccato six - teenths are played with thrown staccato at the middle of the bow. The groups of five notes in the A minor part are also to be played with thrown staccato, although great care should be exercised that the tonal strength of the group played with the Up-stroke be absolutely the same as that of the Down-stroke group. Allegretto. eo a 7 a Ss - . . oe No 12. Pitre HBS ffereerf-ctb 28: f Ste £5, ea)’ GE SS asa estes. dane la position Tystiera - yar ead Testes, *) Neur the fingerbourd in imitation of two flutes: +) In imitation of two French Horns (The fingers must be very firmly stopped while the bow moves lightly near the fin -ger-board.) 15622-62Mien: i 3 10sas- 5828 The double- stops with absolute clearness and faultless intonation. Maestoso i NO 13. (N98.) ee26 In onder to produce every note distinetly and with brilliant clearness, the four notes of each arpeggio must be taken simultaneously and held for the duration of each chord combination. For effective rendition and mastery of spring-bow arpegios and similar styles of bowing, see my Violin School, Part II (Virtuoso Technics.) ‘The double-stop passages in thirds with lightly thrown bow at the middle Andante 5 suena 2,eee EE 3 Pa eran le ee hd a ee eee oS f= hee F nd s ; eT aoe; ieee =y ee : = se sBRPRa Pe I Bg eos afl i" ie at ¥ fee 7 vara!‘As preparatory material for octave passages with the first and third fingers, such as are met with in the following Caprice, I would recommend the respective exercises in my Violin School (Book II) Part II and Ti, and my"Systematic Double Stop Studies’( Carl Fischer, New York) Posato. 9 Aa o Vv 5 z£ 4 NO 15. (no'23) f a7 colt” ottana. Li v. “ft yt Minore. 7 582-52.DCal FineThis Caprice,’ which ix to be used for daily is of particular value for developing the strength, tech - nical facility, stretehing abilities and independ he fingers, yt “corre rer 7 as602- 52a1 The last and first eighth of each bar with distinet and determined accent, although not roughly. For preliminary or additional material for the G string passages see Part II of my Violin School and Book II of my “Systematic Seale Studies” (Scales on one string.) Carl Fischer, New York. Lento. Allegra assai. Me 48 Conde a ae NO 17. (No 49.) ta nina ola ple seconde Todt Cais « P. snana - 62Use the bow at Middle, lightly thrown, for the pass for additional material of a similar nature, see my ‘ Seale Studies” (Carl Fischer, New York.) in detached thirds. In regard to the Adegro, and School,” Part If and Book TII of my“S: Corrente. ‘Tutta sulla quarta Corda N° 18. 4g (No 48.) yes a 7 etait itive soins Ee Se VES Se Vs ss a ” ia pu mr s0520 - 62,83 D.C. La Corrente,88 With light, rebounding bow, at the middle, through use of wrist only and absolutely without any assistance from upper arm. Special attention necessary for clear tone production in string transfers. Moderato. rat2 .——— aot Lhe S42 08 49 say 8582-5286 For preparatory or additional material for octave playing with fingering as used in this Caprice,sce Part Il of my “Violin School” and Book III of my “Systematic Seale Studies” (Carl Fischer, New York.) ‘The trills in this Caprice without after -beats Sostenuto, MW Vv Particular attention is necessary in this Presfo to attain perfection in Legato playing Presto, # P, {Whole Bow) sssa2 — 52smone - 5238 In the three-part chords of the following Caprice, the D string must be kept in constant vibration; to bring this about the middle string should be attacked with firmness and decision. The tone throughout must always be free, of beautiful quality, and never dull Allegretto NO 21. 3 (ne 20) vay t yarns svua2— 62,The suggestions for playing three-part chords as offered on page 5 (Caprice No. 8) also apply to the follow. ing Caprice. The bow is uot to leave the strings and particular attention as to clearness and purity of intona- tion is necessary, i Maestoto, Cee N22, (Ne 4.) 1 3 %40 two22 52,tf ‘The chromatic scales in this Caprice to be played with utmost clearness and peattlike perfection. For uiditional or preparatory matter of a like nature see my “Violin School Part II, and my ‘Systematic Seale Studies, Book T and fon the mastery of chromatic scales (Carl Fischer.) To be practiced with both sets of fingering. Of these, the lower is preferable,as its use enables greater clearness and precision, besides avoiding continuous shifting of the fingers. Sostenuto. ,AAL a ag 9 233 A s5522-52,48 fn = 28a. q fie! ot eabesiaa! ° —— aS — te bee SE - 2 4 @: 4 ta. alent Hpi gars Shas $ ci “4 pur GS oo v a ~ ok Beast > plete _ +S We oe 537 4 a ee 5 s ig © Be a eee 8 Ves raphe, fine pbegha: Saraton® v ‘5 fees ‘s te z i za g oy teeter, A nx, D.0.sino al Fina tensa replica“a All notes marked © in the ninth Variation are played pizzicato with the left hand. For detailed information as to mastery of this particular variety of pizaieato playing see Part I of my Violin School. TEMA. m * afn VAR. 8 05 ofS ba aN by 1, iu SS we ONG : For additional suggestions about similar passages in double-stops compare my “Violin School; Part II and Book III of my “Systematic Seale Studies” (Curl Fischer, New York. ag: 3 a VAR. 6 ee For clear production of the three-part harmony in this variation, attack and hold the middle string firmly. In doing this the pressure of the bow must always remain elastic in order that the beauty of tone may not be marred or destroyed. — VAR . 8 5522-5246 V Up- Bow. % Pizzicato: Pluck the string with the finger used for playing the previous note, 33 48822 - 52.