ELECTRIC CLASSICAL GUITAR PAGANINI / | CAPRICE® Aco age eae ok Kote eA eat PERFORMANCE NOTES, COOMBS NM Viele WELECTRIC CLASSICAL GUITAR PAGANINI CAPRICE® wo ABOUT THE AUTHOR INTRODUCTION HISTORICAL BACKGROUND OF NICCOLO PAGANINI PERFORMANCE NOTES CAPRICE No. 24 (THEME, VARIATIONS, AND FINALE) CAPRICE No. 24 WITH PERFORMANCE NOTES ‘leg 18 19 20 21 22 23 THEME 24 VARIATION 7 VARIATION 1 25 VARIATION 8 VARIATION 2 26 VARIATION 9 VARIATION 3 27 VARIATION 10 VARIATION 4 28 VARIATION 11 VARIATION S 29 FINALE VARIATION 6 HP st eorare raising caroratn 7777 West Bement P., Box 19619 Miwaute, Wi 2213 ‘Copyrig © 1999 by HAL LEONARD PUBLISHING CORPORATION Intemational Copy Secured Al Fights Reserved Unautoned copying. arranging, adaping, ecard or publ prermance is an iningement ot cytight. aeeanABOUT THE AUTHOR Neer toca eeu ne fenunes iii - ae hs elo iaeeh MEE? : Ue euros Cae Cee Co ae ees Neils Coe at or) NZ a et) eee NOVO StS CO ey Cites et ne oc ce a ae} Gls ees oa Pero ory Cer aaa) ee ete egos ee eicets Peet rete Rea eioend Eos sa yon r en mairennear) Ronee Retention Peon ELS VIRTUOSITY OF HIS Peer it) cto Cour th avast} Tere ve nS net Reser Tatoo ae ees eo q | Sees ‘ Ce arti oe Ren te etn ee eras Neen oti ER) Cee et aay Ceance ae naira Cmte oakee tesaINTRODUCTION I’ve been playing guitar for 26 years and, while that may seem like a long time to many of you, to me it has been a rather quickly moving labor of love. ‘My experiences have been many, from my beginnings on trumpet and piano through a myriad of guitaristic pathways ranging from rock bands in junior high school to becoming an internationally known and respected player. I've formally studied jazz, classical and flamenco guitar and, with my rhythm and blues/ country/tock/bluegrass/rockabilly roots, have evolved into a complex but stylistically unique player. The positive thing about all this is that I do not think about my playing per se, but rather let my fingers react to 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. ‘While 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 this is an important way to learn. So is learning repertoire. Having studied classical pieces on trumpet, piano and classical guitar, I know what it is like to suffer miserably through a piece until I “got it together.” Then the reward was so great that my motivation for the next piece (and the next) was very high. While I was learning, there were very few classical pieces for the electric guitar, and none that I thought 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!!! That is why I got into transcribing and playing music written for other instruments. The violin was perfect — ripping scales, soaring arpeggios, octaves, pizzicato melodies, pedal tones, double-stops, etc. The classical violinist has always had challenging and beautiful melodies. And what better composer to start with than the original “Hendrix of the violin” — Niccold Paganini, 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 variations (16 bars) and the “straight ahead” harmony.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 recordings were developed while slaving over the Caprice. On the surface, this piece will be musically rewarding to learn and very impressive to play. More importantly though, the underlying benefits will be far greater than anything that is at first apparent. Take your time and persevere! Best of luck, Michael Fath (Summer 1992)HISTORICAL BACKGROUND OF NICCOLO PAGANINI Once in a great while a musician comes forth and completely revolutionizes a particu-lar instrument's technique, composition, and performance standards. Niccold Paganini was such a person for the violin 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). Niccold Paganini 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 professional musician and mandolin dealer and, upon recognizing young Niccold’s obvious talent, pushed him very hard. He was playing mandolin at the age of five, violin at the age of seven, and had written his first sonata by the age of eight! Paganini’s public performances began at the age of nine. Northern Italy was the cradle of famous baroque string composers and players such as Corelli, Vivaldi, Tartini and Veracini (who was then considered the world’s greatest violinist), and it was fortunate that Paganini grew up in this most inspirational environment. Niccold’s first important teacher was the celebrated Signor Giacomo Costa, a very strict and proper musician who was both amused and perturbed by Paganini’s rebellious attitudes, Niccold was always experimenting with new bowing methods and techniques ~ bored with the rhythm and sustained baroque style of bowing, 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. Jimi Hendrix, whom many consider to be one of the greatest innovators of electric 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 unique approach and followed his heart. This is essential in trying to discover one’s ‘own personality on his or her instrument. Niccold’s father had expected him to follow the path of the classical masters, but Niccold had very different ideas. While still a teenager, he entered a competition in Lucca and blew everyone away. There he established his penchant for humor, imitating other instruments and even various animals. This was a major factor in establishing himself with a younger audience. Today this ability to cross over from one group of listeners to the next can be very important in determining one’s degree of success.For a while Paganini was hired by the residing royalty to perform and compose. Court musicians of that time wrote on commission for their income. Many composers became prolific for the simple reason that their sponsors would constantly request new pieces for different occasions. One of Niccold’s early pieces was a novelty theme entitled Duetto Amoroso, ot lover’s duet. Based upon actual events between himself and a lover, this music went through ten movements including flirtation, request, consent, quarrel, reconciliation, etc. This demonstrates that Paganini was well in tune with his environment, and was very cognizant of the events of his life. Ask any great writer today and he or she will tell you the same, hence the saying “Art imitates life!” Just the same, Niccold wasn’t above writing for 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!” Despite 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 subjective art and really has no guidelines other than “does it sound great?” The true test of musical worth is time. Do these compositions hold up or are they quickly forgotten? Also, there are many, many different approaches to writing music, Maestro Alex Gregory and Yngwie Malmsteen are great modern examples of this phenomena. Both cite Paganini as one of their main influences, and both took very similar approaches to performance and technique and said, “to hell with the critics.” One of my own live reviews read “fast, loud and slick — no soul!” Every other live review 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. Paganini played to please himself, then his audience — and it worked! He was approximately 25 when he started his famous 24 Caprices for Solo Violin. This would mark his place in history, alongside J.S. Bach, as one of the great contributors to the violin repertoire. His prophetic dedication “to the artists” would be an inspiration for violinists forever. These 24 Caprices cover technique, but also deal with the many embellishments characteristic of the violin. Brilliant melody and imitation of other instru- ments are also found within these astounding works. Paganini realized that his imposing physical appearance contributed to his mystique. He was very tall, lanky, had large black eyes, long black hair, and with his passionate and spiritual approach to performing, he would hold an audience spellbound. Paganini was a very 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.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 Niccold 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 great musician!PERFORMANCE NOTES The format of this book will include essentially two versions of the TAB and music. The first is a complete manuscript from start to finish. The second shows each variation (1-11), theme and finale written 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 separately both slow and fast. In the 24th Caprice, a theme is established and each variation in turn reworks this same structure through a variety of techniques. My approach is just that. There are endless ways of playing these notes and I came up with a very guitaristic look at each variation and finale. Tempo suggestions do not have to be rigidly followed. They are the tempos that I worked up to before actually recording the piece. I suggest just basically following the tempo markings. The melody that Paganini uses for the theme implies an A melodic minor chord structure. Every variation except for No. 11 and the finale is sixteen measures in length. All follow the same basic chord structure with the finale changing to create a dynamic close.PAGANINI'S CAPRICE No. 24 MUSIC BY NICCOLO PAGANINI ARRANGED FOR ELECTRIC GUITAR BY MICHAEL FATH ‘Theme Moderately Fast (J = 126) (Am) (e) (Am) © “Chords implied w —~ mm @ © (Baim?) (am) ) (e?) (am) Variation 1 (J = 100) (am) ® ‘Am ae = ©) Copyright © 1993 HAL LEONARD PUBLISHING CORPORATION Intemational Copyright Secured All Rights Reserved(ptim (am) dim) ®) (am) Variation 2 (J = 132) (am) © am) ©) Win: 2121-1342 32323085 2020-1341 8232 91 @) (om) @ © (Baim?) (Am) (Féin?) __ ) (am) Pg ios i 3 23 2 ee eee Lae* Pluck tp note with Sr finger, middle note ‘ith middle finger end bottom aoe with pick. w (om) 4 ©) © : ——_ | —" . = . (Baim?) (am) (aim?) © (am) Variation 4 (4 = 108) aula) © (am) ©) tempo nv AvAVvAYVY nVvAVAYVAY simile uAv avaAyvny. simile jon 5 (J = 116) am | © co (AI) ©) loco (Baim?) (am) om, © (am) Variation 6 (4 = 84) am) © (am) ©) + Pluck top note with middle ger and bltom note with pick. R(Baim?) (am) (Dm) ® (am) Variation 7 (J = 104) (Am) () (Am) (2) ba (Bdim?) (am) (Fdim?) sz 2 (Am) 3 a aoe a 2B= 84) (am) © (am) © (Baim?) (am), (A) (Pim?) ® (am Variation 9 (J = 108) (am) « " (am) «© > + i. + + 4(Baim?) (am) (om ©) (am) Variation 10 (4 = 50) mm) ©), Am), ) @ om . ©) ©. Variation 11 (4 = 76) (am) © am © soem) © Gm ©) Se 15(A) @m) (A) (Dm) fea - (G) © @ © 4H Hey ates (Baim?) (am) (Am) ©) (Am) (Adim?) (Am) ® 2 Finale (J = 72) Freely (am) « (Om) (BE) (BD) (D7) (GET 6 6 Be acoTHEME I suggest this particular location on the fretboard 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 entire piece! ‘Theme Moderately Fast (J = 126) “(am ) (Am) ©) *Chords implied w —z—~ ™ @ © (Baim?) (am) «7 en, (am) Copyright © 1993 HAL LEONARO PUBLISHING CORPORATION ‘ntermational Copyright Secured All Rights Reserved 7VARIATION 1 This is a very tricky section because the arpeggios played very quickly and the pickup/grace notes are difficult. used a sweep picking technique here. Pay very close attention to the down and up stroke markings (mand v). Remember that the down beat (accent) must be accurate, so it is necessary to actually cut 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 changes the F7 to a Fdim7 right before the end, Variation 1 (J = 160) (am) ® (Am) es a (om) @ © (am) dim) (©) (am)VARIATION 2 Here Paganini introduces the melodic technique of scale embellishment. The A natural minor scale is the basic harmony, but notice the half step back and forth sequences with the root note (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 attention to the left hand fingerings —it’s necessary to slide with the first finger where designated to achieve an even, smooth phrase. Also in this variation, the Féim7 replaces the F7 again. Variation 2 (J = 132) (am) © am © « (om) @ © Seaasedes 1 eso 1S 11 Sd SF 29148 ay 1a aioe (Baim?) (am) (Fim) __ ©) (am) Pqipulaotgisiaas 2 S2e3 AU 3.2 ite ees ~~ 4s acs 19VARIATION 3 In the original manuscript, Paganini uses a normal octave technique and melody. Here I added a third octave note for depth (one of my favorite techniques!). To play this, one needs to incorporate a hybrid picking technique, and have the 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) (am) ® (am) © 4 * Pluck top note with 3rd figer, middle note with idle finger and boon note with ck. @ (Dm) 4 @ © (Baim?) (Am) (Fain?) ® (am)VARIATION 4 ‘This variation uses mostly chromatic (half step) runs with occasional arpeggios. (Note how the chords shift in a slightly different fashion during the second section.) This kind of chromatic playing requires a very exact picking technique, so start very slowly and practice emphasizing every individual note with 9 and v strokes. Also note the slight sweep picking technique used for a couple of the arpeggios in the second section. Variation 4 (J = 108) (am) ©) (am) © ba “ tempo Av avavavy avavavay. smite moka, 3) w Om) @ @ © (Baim?) (am) (Fain?) (Fain?) ©) (am) 21VARIATION 5 Here, Paganini introduces a more extreme example of interval skipping to create the melody, with octave jumps being the most frequently used. It is a good idea to listen to a violin interpretation of this piece to familiarize yourself with the way Paganini intended it to sound. Tam 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 sound notes with the 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 Dm is introduced at the end instead of F7 or Fdim7. Variation 5 (J = 116) (Am) x eee (Baim?) (am) om, © (am)VARIATION 6 This melody is in the form of double-stops (two notes at the same time), a very popular tech- nique in violin music. I chose to use a hybrid picking technique again, with the middle finger plucking the higher note and the thumb and first finger picking the lower note. Concentrate ‘on an even tone and blend. Notice again that a Dm harmony appears at the end of this variation in place of the Fdim7. Variation 6 (J = 84) am) © (am © Hack op note with mile Hinger nd bottom note with pick (dim?) (Am) (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 melody will follow an arpeggio note/upper-neighbor tone/arpeggio note arrange- ment. This technique is common in the violin music of many of the great composers. The trick here is to maintain a smooth rhythmic flow and not rush the hammer-ons and pull-off. ‘The implied chord structure remains the same. Variation 7 (J = (am) ® (am) © a) Om © © eim?) (am) (Fain?) (Ls 2 (Am); 2 =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. Variation 8 (J = 84) (am) © (am) © (dim?) (am) (A) (Féin?) ® (nmVARIATION 9 Luse a radical approach to playing this arpeggio section, There is absolutely no picking whatsoever — only tapping with the right hand and hammer-ons and pull-offs (without picking) with the left hand. My reason for approaching this section in this fashion was to create the most legato sound I could. This technique can lead to many great melodic ideas, especially those with extreme interval skipping. Variation 9 (J = 108) (am) « (am) B) + by pa ® pone (Baim?) (am) (Dm) ©) (am) aa + + + 9 6VARIATION 10 Even though guitarists read the same 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 fret the left hand notes, place your right-hand first finger exactly one octave higher over the same positions of the notes, then, using your right-hand third finger, pluck behind the first finger. Remember to barely touch the upper harmonic notes with the right-hand first finger. This is a difficult technique, and requires a great deal of patience. Variation 10 (J = 50) (Am) ©) am) ©) 27VARIATION 11 This section is definitely the most difficult of the entire piece. It will require very precise picking and left hand techniques because I voiced almost all of the double-stops on adjacent strings so they could either be plucked (hybrid style) or alternately picked (playing through the double-stop with one stroke). used a sweep arpeggio technique, as the arpeggios are fast and lengthy. Paganini also starts changing the chord structure slightly to help set up the Finale. Variation 11 (J = 76) am © Am © am ©) Gm © 3) (Dm (A) (Om) Ban © @ © 7 (Baim?) (am) ©) (Am ©) (Am) (Adin?) (Am) ®FINALE Paganini finishes in a very grand fashion, with lots of majestic arpeggios and dynamics. Out- side of the diminished double-stop phrase, everything is played with sweep technique. It is very important to articulate each note —a very common problem with sweep-picking is running notes together so they sound too much like a blur! The A major arpeggios keep building at the end, finishing with the A major chord. Finale (J = 72) Freely (am) w (Om) (Bt) (BT) (D") (GET) => loco 29See Ren ss eet een To ee ee OPP a ae Rag ca ea or mne eee RU tal seca a ol cae) praise eae y TABLATURE AND STANDARD 4 » Reh eect) rant PERFORMED BY ONE OF TODAY'S. eee ZA t pee eo y any J SA pene eroRNeD Gaia aa f Ws Pot Reh UU naa ee aa Ren mon . COMPLETE PERFORMANCE Nore Cn Rees EOE ND Sie Eyal DE ual antl} NONUNN.