CARL FISCHER'S MUSIC LIBRARY N° 570 N. PAGANI Twenty-four CAPRICES together with Mote Perpetuo and Duo Merveille for VIOLIN Newly Revised by EMIL KROSS. Price 768 setienoatst, Carl Fischer Inc. soscuivacss aw Couper Square NEW YORKRevised Edition Caprices. N. PAGANINI, With exception of the notes specially marked (f) this Caprice is to be played messa voce throughout. Only ‘so much of the middle of the bow to be used as is necessary to strings into vibration. It is very difficult to produce the accented notes with the nec precision and nieety, 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 howings 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.) # *) The small figures in brackets indicate the numbering and order of succession in the original elition of these Caprices, oe Published MOMXIT by Cart Pitcher, W.¥:For suitable preparatory studies for the following Caprice, see my Violin Method, Part II, Virtuoso-Technics as well as my Systematie Seale Studies” Book II, Seales throughout four octaves.Up-and down-bow ‘Thrown Staccato. Agitato. a = m__V = Vv @ e Bag ete "tts = np ES == he abaInorder 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 laiter must always remain elastic in order that the beauty of tone may not be marredor destroyed. The Preséo to be played with firm, elinging bow. Tt TH 3 Tenakon fF 302-5 yPresto 25 putter? rests aE 5 a ee Z, : (Half bow) Qlddle of bow) 2nd position. aN 8622-528522-52FLYING STACCATO. The bow, held with thumb and forefinger oniy, is thrownupon the string at a point about one quarter of its length from the tip. In order to produce this flying staccato with clear and absolutely distinct precision, the greatest care should be obscrved in string transfers, For detailed adviee for mastering this variety of staccato bowing consult my Violin School (Virtuoso - Technics,) Book IL $5522-10 Posato. staccato =~ a Nos. @ ff = aie ete (wows) $= aa ae Mem 2 2. “et yatta Veet, _vameb rate LR eLEtl reeE eee | levies pe Goes : pea biel Seis ef EG 2 Sestes..u © Flying staceato with thrown bow as employed in the preceding Caprice, but covering a more extended range of notes. 15522-52‘The melody in the Amoroso must be played with the utmost expressive feeling, In the Preséo the flying staceato with thrown bow again demands eareful 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. Amoroso. 8 ea Cop « 2 toe 2s era seas aya BAe TR ee a ‘ aa += Tid paae* i 2 i 8 +) Shifts in Fourths. See my Systematic Seale Studies, Book 11, a8 well as Preface to my edition of Kreutzer's Studies, ‘+eoThe lower fingering’ will enable clearer execution, s5592- 52“4 In the Winore the in the middle of the how ing staceato as deseribed on page 8 (Caprice N° 4) and the detached sixteenths ith rebounding strokes. Mareato NO 7. GES (no 22,3 8 Minors frmarteltato D.C. al Fine. s5522- 62w Moverato asa b Ht = re «3 co St NuSs Thrown Staccato. 35522 - 3+) For playing of the three-and four-part chords, met with in this Caprice see remarks to Caprice & cpuge 5) For extended information os to correct position of the hand for these capeites sce:~The Study of Puganints Twenty-four Cep- rlcos!"a new descriptive treatise based upon Paganint®s secret methods, explaining how these fam studies ean be mustered by ll Violin players, Sopecatly designed for violinists with small hands ty mil Kruse, Price 75¢ net. (Carl Fischer.) s5528- 518 ‘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. Atieen oom Fe —_— ‘Sieve a ay hg (Petpet om Seas eo te No 10. oop tepg EE REE igs eis eS ir a a De. 7 m senza replica 5522-5219 foot-note to Caprice No.9 in reference to correct position of the hand. All the string-transfers with greatest possible accuracy and clearness, Allegro. Noi, Peet a nea’ P 15529-522 Ete see o3522-52.22 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. Sulle Tastiera (mitaido il Flaite. : oo ek Nog. given pen ft, za wos ie ES oe ‘restes dans fa position eg = Smita Como) sulla 39 ¢ 48 Cords ge ae ‘Tystions +») Near the fingerboard 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 silano8ey sulle Tastiera - sles. if Rex tt , pide Lens t ter ht tersit tes Tystions 5 TH en VV. 15522562 =, Tastions . A 4 tm4 ‘The double- stops with absolute clearness and faultless intonation. ‘Maestoso i N° 13, s552- 5226 In onder to produce every note distinctly 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 arpeggios and similar styles of bowing, see my Violin School, Part I (Virtuoso Technics.) ‘The double- stop passages in thirds with lightly thrown bow at the middle. Andante, et s5522-5227 x ee >» mi ic Mu gs aera FER + fen simile ase Loe FU ie ga PU =e “sie # BD: &28 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 11) Part IE und Wand my"Systematie Double Stop Studies" Carl Fischer, New York) Posato. 2 z 2 NO 15. (no'2s.) ae, ae a t dl ° i t ee’ Ti ; Minore. 5 Ory 1522-52rep22-5230 ‘This Caprice, which is to be used for daily study, is of particular value for developing the strength, tech - nical facility, stretching abilities and independence of the fingers Adagio. aa ‘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 Il of my “Systematic Seale Studies” (Seales on one string.) Curl Fischer, New York, Lento. Alle i ee -gro_assai, E “he A aaaee aioe No 47. ge” s sae 5522 - 52Use the bow at Middle, lightly thrown, for the passages in detached thitds. In regard to the AWegro, and for additional material of a similar nature, see my “Violin School,” Part I and Book III of my “Systematic Seale Studies” (Carl Fischer, New York.) Corrente, ‘Tutta sulla quarta Corda ais NO 18. (NO 18.) FHSS ets ee 3522 - 62,aa Le Corrente be s5822 - 6234 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. 4 NO 19. 3 (No 2.) 552-525822-9For preparatory of additional material for octave playing with fingering as used in this Caprice, sve Part IT of my “Violin School” and Book IIT of my “Systematic Seale Studies” (Casl Fischer, New York.) ‘The trills in this Caprice without: after-beats. Sostenuto. mM. : 2 Vv Particular attention is necessary in this Presfo to attain perfection in Legato playing. Presto, > Pinole Bow) 134 ss22 - 52ss22— 538 In the three-part chords of the following Caprice, the D string must be kept in constant vibration; to bring this sbout the middle string should be attacked with firmness and decision. The tone throughout must always be free, of beautiful quality, and never dull Allegretto. dolee, sssae- 6239 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 not to leave the strings and partinzlar attention as to clearness and parity of intona- tion is necessary. W Maestoto. Mm. tsana-be40a s5502~68‘The chromatic seales in this Caprice to be played with utmost clearness and pearHike pertection. For additional or preparatory matter of a like nature see my “Violin School; Part If, and my‘Systematie Seale Studies, Book 1 and Ilf,on the mastery of chromatic seales (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. LAAT ms { NO 23: (we 17.) s5622~5248 : n BSB i659 De = af ee j fitesenrsins eS Sees | He port ee ee ee 8 a a as : saat = VA piett Pith feta ligag é i a ipa page a i appressed 7 : F fF etoerare SoS Se ae : 8,32 21054 v nin ; 08 sae at = Ta, seaneros® Vv . oe 1 = tartare 3 7 eT tite i oe mee eae atte, ~ FI Le ttt te apo D.C.sino al Fine senza replica 1522-59a A notes marked © in the ninth Variation are played pizzieato with the left: hand, For detailed information as to mastery of this particular variety of pizzicato playing see Part II of my Violin Sehool TEMA. 1 4 Quasi_Presto, — — +, e'te =H NQ24 (no2a) at. Siete tee Ee 3522-52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. Z ——. van. 8. =f susa2—5246 V Up-Bow. w Pizzicato: Pluck the string with the finger used for playing the previous note. Voy V bo 43 ou) 4 7 3 fteos VAR, 9. 0022 = 52Perpetuum Mobile. “ ‘Perpetual Motion.) ‘The notes, individually eonsidered, mist be played with wtmost evenness and equality, at middle of bow, with hair slightly tighter than usual and in Spiceato manner. With exeeption of the preseribed dynamies, the eomposition should be played Messo-forte throughout. To be practiced at first with aid of a metronome. ‘This composition is particularly well adapted for publie performance, (The most effective and best arranged piano sccompsiniment part ix published by Cuel Fiseher, New York.) Allegro vivace NO 25. EEE reeotet dolee t48 Violin Zz za ie fpfetetetion seston, = 2 SS orese $5522 1832-110a9 Violin erese ss522- 1898-110deorese. dol. piston sy — s5522- A834 ~110= A L cresc, 15522- $892 -11032 Duo. DUET FOR ONE VIOLIN. ‘This duet for one violin, also excellently adapted for publie performanee, is exceptionally difficult owing to its pizzieato accompaniment to the melody. If well performed, it should sound as though played by two violins. Part II of my Violin School contains special exereises for this particular technica! difficulty and use of same as preparatory material for this Duo will be found very beneficial. Adagio 4p 3p 57 F +) 3P,4P, indicates: The pizsieato us played with the 34 or 480 singer 5522-59): 1 Allegro. molto. ‘ Lane 1 tf 4 sng2 = 52Leopouo Gooousty Compositions and Transcriptions for VIOLIN and PIANO