u.s. $17.

95
ISBN D · ?~3S·233S·4

11111111111\\11111
o 7399999381
~III 3
lE UEC]' IR[C CLA§§~CAL GllJrrlAIR
----------------------~----------------------

PAGANINI
CAPRICE-
2 AB OUT THE AUTHOR

3 INTR ODUCT I ON

5 HI STOR I CAL BACKGROUND

OF NI CCOLO PAGANINI

8 PERFORMANCE N OTES

9 CAPR I CE N O. 24
(TH E M E, VARIAT I O N S, AND FINALE)

CAPR I CE No. 24 WITH P ERFORMA N CE N OTES

17 THEME 24 VARIATI ON 7

18 VARIATI O N 1 25 VARIATI O N 8

19 VARIATI ON 2 26 VAR I ATION 9

20 VARIATI ON 3 27 VAR I ATION 10

2 1 VARIATI ON 4 28 VARIATI ON 11
22 VARIATI ON 5 29 FINALE

23 VARIATI ON 6

COVE It PHOTOS: E O SOLOMON

H'H" 1,..,rII ' ••';sh'n, Corpont;on

ml WIst 8lwmound ROMJ P.O Box t38H/ Milwlukff. WI53213
Copy!IgN 0 1993 by HAL LEONARD PU6USHING CORPORATlON
In~ Copyright Secured AI ~ R.--:I

For .. WO<b oontIIined herein,

~td t::qIyIng • • mllI(III'Ig. ~, fKOrding or p!.tIIc penormance '- an ~ 01 ~
Infringers are liable . . . , 11'.- 110",
 ABOUT THE ALJTI-

2
INTRODUCTION
I've been playing guitar fo r 26 years and, while thaI may seem like a long lime to many of
you, to me it has been a rather qui ckly moving labor of love.

My experiences have been many, from my beginnings on trumpet and piano through a
myriad of guita ristic pathways ranging from rock bands in junior high school to becoming an
internationally known and respected player.

I've formally studied jazz, classica l and flamenco guita r and, with my rhythm and bluesl
country/rock/bluegrass/rockabilly rools, have evolved into a complex but stylistically unique
player. The positive thing about aillhis is that I do not think about my playing per sc, bul
rather let my fingers reaello the melodies that I hear.

A variety of musical experiences is important. I would suggest that live performance in any
form is of the utmost importance! But so is knowledge and diligent technical study.
Remember, music is communication and the greater your vocabulary, the greater your
expression.

Whi le all of my teachers were beneficial in one way or another, I believe that I have been my
own best teacher. No one showed me how to sweep-pick, mirror-octave tap, double-stop,
hybrid pick, etc. And of course, no one practiced for me. I borrow ideas from other players
and adapt them to my own "personality," and I think that thi s is an important way to learn.
So is learning repertoi re . Having studied classica l pieces on trumpet, piano and classica l
guitar, I know what it is like to suffer miserably through a piece until I "got it together."
Then the reward was so great thaI my motivation for the nex t piece (and the next) was very
high.

While I was learning, there were very few classical pieces for the electric guita r, and none
that I though t were seriously thought-out, played and recorded. There was plenty of music
for the " normal" classical instruments, but for us string-bending, whammy bar diving,
distortion cowboys and girls - nothing!!! ThaI is why I got into transcribing and playing
music written for ot her instruments. The violin was perfect - ripping scales, soaring
arpeggios, octaves, pizzicato melodies, pedal tones, double-stops, etc. The classica l violinist
has always had challenging and beautiful melodies. And what better composer to start with
than the original " He ndrix of the violin" - Niccolo Pagan ini, probably the most prolific
composer and performer that the instrument has ever known.

Paganini's 24 Caprices are among his most famous works. A measure of any violinist's
technical prowess is the ability to play them! All are exceptionally technically demanding
and melodically complex. The most famous is the 24th, probably because of the theme and
variation approach. It is also an excellent rock guitarist's study because of the shorter length
of the va riations (16 bars) and the "straight ahead" harmony.

3
It took me quite awhile to create what I felt was a very interesting and effective approach to
this piece. Many of the techniques I'm known for in my videos and record ings were
developed while slavi ng ove r the Capri ce. On the surface, this piece will be musica lly
rewarding to lea rn and very impressive 10 play. More importantly though, the underlying
be nefit s will be far greater th an anything thaI is at first apparent.

Take your time and persevere!

Best of luck,

Michael Falh
(Summer 1992)
HISTORICAL BACKGROUND OF
NICCOLO PAGANINI

Once in a great while a musician comes forth and completely revolutionizes a particu-Iar
instrument's techn ique, composition, and performance standards. Niccolo Paganini was such
a person for the viol in and his remains among the most often performed violin music. This
will be a brief sketch of his background and personality to help give you some insight into
what motivated and inspired this brilliant musician. For a more in-depth biography I suggest
Paganini - His Life and Times, by John Sugden (published by Paganiniana Publications,
Inc.,211 West Sylvania Avenue, Neptune, N.J. 07753).

Niccoio Pagani ni was born in Genoa, Italy on October 27th, 1782 and died in Nice, France on
May 27th, 1840. He came from a very poor family and had one older brother and three
younger sisters. His father was a profess ional mus ician and mandolin dealer and, upon
recognizi ng young Niccolb's obvious talent, pushed him very hard. He was playing
mandolin at the age of five, viol in at the age of sevc n, and had written his firs t sonata by the
age of eigh t! Paganini's public performances began at the age of nine. Northern Italy was
the cradle of famous baroque string compose rs and players such as Corelli, Vivaldi, Tartin i
and Veracini (who was then considered the world's greatest violin ist), and it was fortu nate
that Paganin i grew up in this most inspirational envi ronment.

Niccolb's fi rst important teacher was the celebrated Signor Giacomo Costa, a very strict and
proper musician who was both amused and perturbed by Paganini's rebellious altitudes.
Niccolb was always experimenting with new bowing methods and techniques - bored with
the rhy thm and sustained ba roque style of bow ing, he favored a more virtuoso technique
which required exceptional left hand and bowing abilities.

This rebellious and inquisitive nature has also been found in other musicians of similar
magnitude. Ji mi Hendrix, whom many consider to be one of the greatest innovators of
elect ric guitar, had many similar characteristics. He decided to follow his own path and
pioneer rock guitar composition, performance and technique. Although he listened to the
"greats" before him, he did not just blindly copy what they had done, but rather formulated
his own uni que approach and followed his heart. This is essential in trying to discover one's
own personal ity on his or her instrument.

Niccolb's fat her had expected him to follow the path of the classical masters, but Niccolb had
very differe nt ideas. While still a teenager, he entered a competi tion in Lucca and blew
everyone away. The re he established his penchant for humor, imitating other instruments and
even va rious animals. This was a major fac tor in establishing himself with a younger
audience. Today Ihis ability to cross over from one group of listeners to the next can be very
important in determining one's degree of success.

5
For a while Paganini was hired by the residing roya lty to perform and compose. Court
musicia ns of that time wrote on commission for their income, Many composers became
prol ific for the simple reason that their sponsors would constantly request new pieces for
differen t occasions.

One of Niccol6's early pieces was a novelty theme entitled Duelto Amoroso, or lover's duel.
Based upon actual events between himself and a lover, this music went through ten
movemen ts including ni rtation, request, consent, quarrel, reconciliation, etc. This
demonstrates that Paga ni ni was well in tune wit h his env ironme nt, and was very cognizant of
the events of his life. Ask any grea t writer today and he or she will tell you the same, hence
the saying "Art imi tates life!"

Just the same, Niccol6 wasn' t above writing fo r sheer technique. Part of his repertoire was
devoted specifically to "demoralizing" his fellow musicians with astounding virtuosity. We
also see this today, and I believe it is healthy to a degree - sort of "keeping them on their
toes!"

Despi te his performance abilities, there have been many doubts as to his real musical worth.
One needs only to look closely at his more sophisticated compositions to quickly dispel them.

We see this today : "Yes, he's a great player, but can he write good songs?" Music is a
subject ive art and really has no guidelines other than "does it sound great?" The true test of
musica l worth is time. Do these compositions hold up or are they quickly forgotten? Al so,
there are many, many different approaches to writing music. Maestro Alex Gregory and
Yngwie Malmsteen are great modern examples of this phenomena. Both cite Pagani ni as one
of the ir main influences, and both look very similar approaches to performance and technique
and said, "to hell with the cri tics." One of my own live reviews read "fast, loud and sl ick-
no soul! " Every other live revi ew I've ever gotten has been good, but this was a critic that
obviously hated what I was doing. I felt like sending him all those reviews, but realized,
"what would be the point?" Music has to be first played for one's self. Paga nini played to
please himself, then his audience - and it worked!

He was approximately 25 when he started his famo us 24 Caprices for Solo Violin. This
would mark his place in hi story, alongside J.S. Bach, as one of the great contributors to the
violin repertoire . His prophet ic dedication "to the artists" would be an inspiration for
violinists forever. These 24 Caprices cover technique, but also dea l with the many
embe ll ishments characteristic of the violin. Brilliant melody and imitation of other instru·
men ts are also found within these astounding works.

Paganini realized that hi s imposing physical appearance contributed to his mystique. He was
very tall, lanky, had large black eyes, long black hai r, and with his passionate and spiritual
approach to performi ng, he would hold an audience spellbou nd. Paganini was a very
religious person and practiced what we now know as "trance consciousness", which included
soli tude, fa sting, and meditation. He would draw upon his spiritual feelings in concert and
the effect was hypnotizing.

6
religious person and practiced what we now know as "trance consciousness", which included
solitude, fasting, and meditation. He would draw upon his spiritual feelings in concert and
the effect was hypnotizing.

The legacy of Niccolo Paganini will last forever, or as long as there is some musician with a
vision to go beyond the limits of the norm. Listen to his music and become astounded by the
sheer brilliance of this gTeat musician!
PERFORMANCE NOTES
The formal of this book will include essentially two versions of the TAB and music. The first
is a complete manuscript from slart to fini sh. The second shows each variation (l-ll),t heme
and fin ale wri tte n separately, with notes complementing each. The recordings match
everything as well . The entire work has been recorded straight through with concert sound
and performance approach. then each variation and finale is performed sepa rately bot h slow
and fast.

In the 24t h Caprice, a theme is established and each va ri ation in lurn reworks this same
st ructure through a variety of techniques. My approach is just that. There arc endless ways
of playing these nOles and I came up with a very g uilarislic look al each variation and finale .

Tempo suggestio ns do not have to be rigidly followed. They are the tempos that 1 worked up
to before actuall y recording the piece . I sugges t just basically following the tempo markings.

The melody that Paganin i uses for the theme implies an A melodic minor chord structure.

Every variation except for No. 11 and the fina le is sixteen measures in length. All follow the
same basic chord structure with the finale changing to create a dynamic close.

8
 PAGANINI'S CAPRICE No. 24
MUSIC BY NICCOLO PA GANINI
AR RANGED FOR ELECTRIC GUITAR BY MICHAEL FATH

Theme
Moderately Fas t (J = 126)
-(Am) (E) (Am) CE)

' Chords Implied

(A) (Dm) (G) (e)

(Bdim 7) (Am) (F7) (E1) (Am)

Variation 1 (J = 100)
(Am)

flIf:-=
(E)
,
~ If:~ ~
(El
f.l ....--..
. .
, , ,
n--j V • •• • +.-.... .... ~ n'-i V -_ •• • •• _-_ .. .. ., n--I v . -.----.· · -------j
~ ~

Copyright C 1993 HAL LEONARD PUBUSHING CORPORATION

InternatIonal Copyright Secured All Rights Reserved

9
 (Dm) (ol ... .., loco Ccl
...
8"11 __________ ._ ...........

, , , , ,
, , ,
n--j V-·-·-· ---------., n --- ------ -- --- -- -- --- -I n--t V---' -- -- -- -- -- --I n·----- ------·- ----- ---I
~ ~

, ( Am) CFdim1) CEl

:I.;;-I'- ~ rn:; , ,

"' , , '-' , ~

v----------------------i V·---------------------~ n---., n V n V n V n

~~
~

Varialion 2 (J .. 132)
CAm) CEl CEl

unbind: 2 1 2 I-I 3 4 \ l2l2l14l 2121_1341 3 2 3 2 3 ......... \

CAl (Dm) CGl Ccl

g Itmpo

3 2 3 2 3 • 3 , 2 I - I J 4 I 1 2 1 2 3 I 4 3 2 I 2 1 _\ 3 4 I

,Ie

21212421 ,

10
Variation 3 (J '" 72)
(A m) (E) (A m) (E)

~ ~ ~

--- ~ ""..
-
~
. .
"' I · <i -::::;:;
~ :::::J
•

.
• P!uck lop nol~ wllh 3td fingeT, middl~ noIe
wilh middle finger.rod bonom no~ wll h pick,

(Bdim 7) (Am) (Fdim 7) (E)

Y":::
0----

Varia tion 4 (J '" 108)

Bva(Am) (E)
____________________________________________________ (Am) (E)
_________________________________________________________________________ _

a rtmpo
nv n v n y n v nvnvnvny simile

(Al (A ) (Dm) (0) (G) (e)

B~ --------------------------------------------------.--------,-- -------------------------------------------------------------------

,,-
nyn y nvnv n V n v n v -----, n V n y n v n v n V n v n v- ---!

11
 (Bdim1) (Am)
8...... -------.

Til.
nvnvnvnv ,imil~ ---~ n V -----,

Variation S (J :: 116)
(Am) (E)

T T T T T T T T

(Om) (a) 8."., ••• • •• ••• • _._, loco (e)

8w _•• •••• • •••.• ,
b+ +
loco
+ +=-. + +i=-.

T~ T~ T T T T T T

(Bdim 7) (Am) (Om) (E) (Am)

T T T T T T T T

Variation 6 (J :: 84)
(Am) (E) (Am) ( E)

• Pluck lop noI~ wilb I,

100 bonom OOIC wilh

12
 (A I (OmI (GI (C I
F'I I'- ~ ~ '!o F ~ FI
" ~

. . i'
,il. == .
" It:mpo ,il.
==

(Bdim 1) (Am) (Dm) (EI (Am)

.. .".

Varialion 7 (J '" 104)

(Am) (EI (Am)
6w ----------------------------------------------------, loco Bwl -----------, loco

( A) (Om) (CI
""" ------------ ____ • --._. ___ -------- ------ ..... I«Q

, .,
(Fd'm1) (E) 3 3 (Am) 3 3

~T~~-'!o
~
'l'UF-"
§!'
T~ m Jl)

" w 3
ill , ar ~:;~ .~~ ~
3 3
,-.... ,-.... ,-.... ,-.... ,-....

;::;;:

13
Variation 8 (J '" 84)
(Am) (El .,.. (Am) (El
~=io •.
~ ~
" I~mpo .~
~. "'~mptJ .
,

~ ~

(Bdim 7) (Am) (A7) (Fdim7) (Am)

~ "
•
,.
<t '1 I I ,;:

Variation 9 (J .. 108)
+

II I~mpo .u.

(Al (Om) + +
(G7) (el
+ + +
t~+$ ~ + eo""' f=---:---'
.,.. - + h
+

~
,,-
T~ T
~
T T T
~
T
~

T T~
==
T
~
rr
T T
~
T
"
T

14
 (Bdim 7) (Am) (Om) (E) (Am)
+

T T T T T T T T T

Variation 10 (J ,. 50)
AJH .--(Am) (E)
______ •••••• _______ • __ ••• _________________ (Am)
. _. ______ • _____________ (E)
________ ______ •••••••• _._ ••••••••••••••••••••••••••••••••••

8~ ---------- - -----------------------------------~----- ------- - -i ----- - -- - --------

"t,tnpO ri~
}lH ... - ................. - ...... - ... -.-.---... ---.- .. -.-.- •• ___ ._. __________ • __ ••••••• ________ •••••••••••.••••••.•• _•..............

}lHr · ·(A ) (Om)

· - - · - · · · · - - - - · - - - - - - - · - - . _ · · _ · ____ •• ___ • • • • • • • • _._._._ .
(0) (e)
_ • • • • _._._. __ ._._ • • • • • • • • • • _ • • _ • • • • • • • • • _._ •• _ • • • • • • • • • • • • • • • • • • • • • • • • • •

(~)-------------------------------- -.--. ---- -- .- -- ------ -- -----------------------------

~

" Ump<I
A . H ~.··· •••• _._ •••• ·····._ •••• __ ._._.···_.·_ ••••• ···•· .........•................. _.... _..................... _.. ___ ....... __ . ___ ._ •• _.

(Bdiml) (El) (Aml) (Fdim7) (E) (Am)

}lH. ···-···········-----·-·-···--·---·----·--·-·· ··· -·- ••• • -. -• •....................... .... .... - .... - .. - .. - .. --•••• -.-.--.~
(~) - - - - - - -- - - - - - - - - - -- - -- - - - - - -- - -- -- - ---- -- - - - -- - - - - - - - - -- --- - - - - -- - -- - - - - - -- - -.., l«o

" .1'.-..

A.H.·······-········· ·· · ·· ··-·······--·----·---···---- -.---- • •• • - •••••• -.-.--.- . - ••.••.. - .. . - ................ - ............ ..,

(J.. 76)
,.•.... . "'
Variation 11
(Am) (E) (Am) (E)
_ ....,
.( Am) (E)

~ '"
}lH. t:"\

.
1 -1 ~""' "
"Y, ,
..-
::!:
li~ ~f
ro, " t~tnpO ro,
n--·-----· -· ·-·-i n V n "-i n v ---·-----··--··i
~ ~

1=
f== •
E

IS
 (A ) (Om) (A) (Dm) (e) (a) (e) lI1IfI ___ ____ ,
8.... ------------, (G)
I~.

"'onpo Til.
• '""PO "'. n------------i n-----Iv UmtpO

(Bdim 7) (Am) eE) (Am) eE) (Am) (Adim 7) (Am) (E)

II loco
:=.- -' ~ ;:, ..I I ...
~ i if=: ,, ~

• r
.,-, r " r l '1 J , ,==
- -
.l~mpo
...0110 Til. n--------------i n - - - - - - -- - --- - --i
,
• 12 , :n:
Finale (J = 72)

.
Fruly
(W"7) (8"7) (0"7) (G~"7)
( Am)
, (A)
, (Om)
8.... -- --- - - -- ... IDeo
~

" .,..t ·· I ••
" - ::
• f
~

" 1~"'f'O
n --- -. - - - - -, V
,
- -- -.- - ---I
. " j!,

n ----------;
,
V---------~
, ,u.
n -- -- -- -- - -~ V n- -I V
j'i

i1!:
(A) , (A ) 7

, 7
n--- --------I V ---------i n -- - - - - -- -- -- - -I V - -- -- - - - - - - - --I n - - - --- - - - - -- - - --I V -- -- -- --. -- - -- -I

(A)

,".
V n---i V --------------------1 n n

16
THEME

I suggest this particular location on the frctboard for two reasons: tone and legato phrasing.

Play with conviction but try not to rush. Remember, this is the most important section of the
melody, and it sets the tone for the e nt ire piece!

Theme
Moderately Fas t (J .. 126)
• (Am) ( Am) eE )

' Chords implied

eA) (O m) ee)

(Bdim7) (Am) ep7) (E7) (Am)

Copyrigh! 0 1993 HAL LEONARD PUBLISHING CORPORATION

InI&maliooal Copyngtll secured All R.ghl$ Reserved

17
VARIATION 1

This is a very tricky section because the arpeggios pla yed very quickly and the pickup/grace
notes are difficult . I used a sweep picking technique here. Pay very close atten tion to the
down and up stroke markings ( n and v ) . Remember that the down beat (accent) must be
accurate, so it is necessary to actually cui the end of the arpeggio slightly so that there is time
to squeeze in the two grace notes before the downbeat occurs again. Hang in there and start
very slowly_ Paganini also c hanges the F7 to a Fdim7 right before the end.

Vario lion 1 (J '" 160)

(Am) (E) (A m)

fli F'"): ~ F.l ....--., 3

fliF'): ~ (E)

.-
"' 3
3
3
n-; V ----------------1 n--~ V ---------------1 no; V ----------------~
~ ~

_____________
(A ) -, oe" (Om) (0) (C)

- '" ~--.. ~ '" .-

._-------------------------, «0
i ~

~ '¥-
n --i V----------------i
J
3 3
n--- ---- ------ --- -----~
3
no; V----------------i
3
J
3
p
n--------------------- ~
~ ~ ~ ~

<Bdim1 ) (Fdim1) (E) (Am)

&1 3

3 3
3
V----------------------~ V-------------------- --i n----i n V n V n v n

18
VARIATION 2

Here Paganini introduces the melodic technique of scale embellishment. The A nalural
minor scale is the basic harmony, but notice the half step back and forth sequences with the
rOOI nole (A) and the fifth (E). This is also a form of chromatic playing, and Paganini uses it
very melodically in this variation.

The key here is to pay alieni ion to the left hand fingerings - i t's necessary to slide with the
first finger where designated to achieve an even, smooth phrase. Also in this variation, the
Fdim7 replaces the F1 again.

Vari ation 2 (J .. 132)

( Am) (E) ( Am) (E)
r .
~...... -s::a ~
== woo/U> ,;..

. •
Ltnhlnd: 2 1 2 \-1 J " 1 32 3 23 14 3 2121 _ \ 3 4\ 3 1 J 2 3 ........... '

(A) (Om) (G) (C)

• ~ i. ~ ~ h.
~
::::::
" .. rempo
==
, 2 , 2 ,
.....
•, 2 , 2
:iE ::i!:
,-, , • , , 2 , 2 , , ., 2 , ,,, •,
2
....".....

(Bdim7) ( A m) ( Fdim7) (E) (Am)

, 11.

" 3 " 3 "

19
VARIATION 3
In the original manuscript, Paganini uses a normal octave technique and melody. Here I
added a third octave no te fo r depth (one of my fav orite techniques!). To play this, one needs
to incorporate a hybrid picking technique, and have th e necessary stretch. I suggest picking
the lowest note, plucking the middle note with the second finger, and plucking the highest
note with the third finger. Concentrate on even volumes with all three notes and smooth
shifts between the octaves.

Variation 3 (J = 72)
(E)
(Am)

• •
~. c--
., (A m)
. ~
(E)

I ~
.
~ Pu -c:;
"
•

• Pluck tOP I\OIC wi1h 3rd fin&er. middle nole

Wllh middle finger.1Id bottom note wllh pick.

(Om) (0) (e)

.t I~~J=~ = €: ~ It: 1'=

• I ~ :::::.....,/ -c:; •
"...--.., "...--..,

(Bdim7)

20
VARIATION 4

This variation uses mostly c hromatic (half step) runs with occasional arpeggios. (Note how
the chords shift in a slightly different fas hion during the second section.) This kind of
chromatic playing req uires a very exact picking technique, so start very slowly and practice
emphasizing every individual note with n and v strokes. Also note the slight sweep
picking technique used for a couple of the arpeggios in the second section.

Varialion 4 (J • 108)
(Am) (E)

nynynvny Ilmlle motto .iI.

nynVny n V

(A) (Om) (G) (G) (c)

-
(6..) ••••••••••• - -- - --- --- --- ----------------------------------- ---------------- ----------------------------------------
~ ~ h h , ~

._- = == =- == ...
n v n v n v n v n v n v n V·, , -- -\ n v n v n v n v n v n v n V -----~

t-4
:!!: :!!:

(Bdim 7) (Fdim7) (Fdim7) (E) (Am)

(s..,-- _____________________ ••• ____ ._· _________________ -------------------------------------------------------------------------------,
, .... I I
~ ~
~
. ::::I::S ~ ... -.r If"'------~ ... ~

n V n V n V n V simile
"' V------i n V ------i
~!!:
:!!: ~
5-4

21
VARIATION 5

Here, Paganini introduces a mo re extreme example of interval skippi ng to create the melody.
with octave jumps being the most frequently used. It is a good idea to listen 10 a violin
interpretation of this piece to familiarize yourself with the way Paganini intended it to sound.

I am using a technique here that I call "mirror-octave" tapping; your left and right hand
positions will " mirror" each other.

It will be necessary to sou nd notes with tbe left fingers hammering on with no help from a
previously picked note. Throughout this variation, no notes are articulated with the pick.
Notice that a Om is introduced at the end instead of F7 or Fdim7.

VariationS (J _116)

,~,
(Am)
+
r-
+
(E) 8... ------_._----..,
+
/t>f;() (Am)
+ + ~ ......-i-i'=i' ~,

::l; r--1
~
.:; ,
"
T T
.3 #2
T T
.3
" T T
" t
T
" T
• ..
•
- - - -
(0) 8... ............. ..., loco (e)
8 ... ............ . ..., loco
b+ +
+ +=--. + +'=:--. + +1:::::::,.....,

T........ T........ T T T T T T

(Bdim7)

i, ~" .
; .:......
(Om)
+
to\
(E)
+
~\
(Am)

i" .:.. .
.1" ~ ~ """" I=C -1" LJ ~ -1" .....,;-S
T T T T T T T T

•• , -
- - - - - -
22
VARIATION 6

This melody is in the form of double-slops (two notes at the same time), a very popular tech-
nique in violin music. I chose to use a hybrid picking technique agai n, with the middle fin ger
plucking the higher note and the thumb and fi rst fi nge r picki ng the lower notc. Concentrate
on an even tone and blend . Notice aga in that a Dm harmo ny appears al the end of Ihis
va riation in place of the Fdi m7.

Variation 6 (J :. 84)
(Am) (E) (Am) (E)

(A )
F9
(D m )
~I" ~
(0)
Fi
(C)
. ~ ::
,- == ..
• . .

ri<
i .
.".
" ,. ==
:!!:
~

(Bdim7) (Om) (Am)

..... .
,

23
VARIATION 7

Here Paganini introduces the technique of arpeggio embellishment known as upper neighbor
tones, which are always the next scale degree found above the arpeggio note itself. Notice
how the me lody will follow an arpeggio note/upper-neighbor tone/arpeggio note arrange-
ment. This technique is common in the violi n music of many of the great composers. T he
trick here is to maintain a smoot h rhythmic flow and not rush the hammer-c ns a nd pu ll-orrs .
The implied chord structure remains the same.

Variation 7 (J .. 104)
(A m) (E) (Am) IE)
8 .... ................................................... ...., 1«0 8"" _._._._----.., locD

( D m) (G~ (e)
-----------------------------------------, I~ ~
~
3 3 ~ ~ f:\,o.~.... '7' ~ 3 3

:g; ~,
"' ~ 3 ~ , ~ "..:J
""¥ 3
-.- ........J"

........
~ ~ ~ ~

F)FrFF9
(Bdim7) ( Am) (Fdim7 )
(Am·

24
VARIATION 8

This is one of my favorite sections because it consists entirely of triple·stops, and the chord
structures and voice movements are absolutely beautiful. I use a hybrid picking technique
with a clean tone so that each note can be distinctly heard.

This can be played very slowly to great effect Remember to concentrate on even tone and
blend with each voice in the chords. The implied chord structure changes a bit in the second
half.

Vlriation 8 (J .. 84)
(Am) lEI (Am) (El

• ''''PO

(Gl (el

altmpo

(Bdim7) (Am) (A 7) (Fdim7) (El (Am)

2S
VARIATION 9

I use a radical approach to playing Ihis arpeggio section. There is absolutely no picking
whatsoever - only tapping with the right hand and hammer-ons and pull-ofrs (wit hout
picking) with the left hand . My reason for approaching this section in this fa shion was to
create the most legato sound I coul d. This technique can lead to many great melodic ideas,
especially those with extreme interval skipping.

Variation 9 (J ,. lOS)
(E1)

T T T T T T T T T T T

(e)

"Iflmpo

T T T T T T T T T T T

(Bdim 7) (Om) (E) (Am)

+ +

T T T T T T T T T

26
VARIATION to
Even though guitarists read the sa me clef as violinists, the violin sounds one octave higher in
pitch than the guitar. In this variation, Paganini's melody is at the upper registers of the
violin. To compensate for the guitar's range, I chose to use a plucking harmonic technique.
As you frelthe left hand notes, place your righ i-hand firs t finger exactly one octave higher
over the same positions of the nOles, then, using your right-hand third finger, pluck behind
the fi rst fi nger. Remember 10 barely louch the upper harmonic notes with the right-hand first
finger. This is a difficult technique, and requires a great deal of patience.

Varia!ion 10 (J = 50)
(Am) (E) (Am) (E)
A.H.··.·····.········._···· __ ············.· ______ · __ ··----------------------------------------------------------------------------
8~ ------------------------------------------------------ - -- -- ----

If '~mpo rit. ----------------------

A.H. ________________________________________________________________________________________________________

AH, __(:~L ____________ ____________ m~L ___________________________________ J~L ___________________ J~~ ____________________ ____ _
~~}-----------------------------------------------------------------------------------.

If Itmpo
AH. ______________________________ __ _____ • ___________________________________________________________________ ------------.------ -----

(B dim7) (E7) ( Am7 ) (Fdim7) (E) (Am)

(8~}

---------- ~ ... .
AM.-----------------------------------------------------------------------------------------------------------------------,
• - - - - - - - - - -- - - - - - - - - - - - --- -- - - - -- --- -- - - - - -- - -- - - - - - - -- - - - - - - - -- -- -- - - - - - --- - - , loco

~ '"

AJ1. ----------------------------------------------------.------- ----.------------------------------------------------------,

27
VARIATION 11

This section is definitely the most difficult of the entire p iece. It will requi re very precise
picking and left hand techniques because I voiced almost all of the double-stops o n adjacent
strings so they could either be plucked (hybrid style) o r alternately picked (playing through
the double-stop with one stroke). I used a sweep arpeggio technique, as the arpeggios are fast
and lengthy. Paganini also starts c hanging the chord structure slightly to help set up the
Finale.

Variation 11 (J :: 76)
( Am) (E) ( Am) (E) (E) (Am) (E)

, il. , il.
n --------------- ~ n V n -- -i n v---- .. -- -- - ----~
~

(A) (Dm) 8"" ------------, (G) (c) (0) (c) 7 -------.,

~~ ~ .,.. .~ I~ ~ ~ ,~
.h r.
'" oJ

"' Pt r r ~ I rI I == r rf =-' ~
7
" ftmpo dl.
aumpo ,"
n ------------ ; n ---- -tv " I~mpo ," n- --------- -i n ---- -Iv

:jj:&------<
~ ~ =i

(Bdim7) (A m) (E) (A m) (E) (Am) (Adim 7) (Am)

f': ~ ..( ~ #~ ~~
" loco
'" '"
~

• r r r- 'r
~

o ftntpO
6 6
==
Q tt'"fJO

:!
,"0110,,'L

-
n ... . ...... ... -i n ······---------I
-
28
FINALE
Paganini fini shes in a very grand fa shion, with lots of majesti c arpeggios and dynami cs. Out-
side of the diminished double-stop phrase, everything is played with sweep technique. It is
very important to articul ate each no te - a very commo n problem with sweep-picking is
running notes together so they sound too much like a blur! The A majo r arpeggios keep
building at the end, fini shing with the A major chord .

Finale (J '" 72)

FrHly
( A m) (Om) (~ "7 ) (8 "7) (0"7) (0; "7)

• • 8V<l ---······., 1«0 '"

~t · I..
" " I~
..,.,.
.~ r . t!f" r
. == #'
, ,
• • • ,
n - -- -- - - -- - -I V - -- -- -- --'i n -----------I v ---------~ n - -- -- _. -- -~ v n - -i V

~
~ ~

n - -- - - . - - . --I v ' -- -- -- - -1 n - -- - - -- -- -- - - -I V - -- - - - - - - - -- --I n -- - - - - --- - - -- -- -I V --- -- --- - - - --'-1

29