24 Caprice Transcriptions
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Transcript of 24 Caprice Transcriptions
24 Caprices Transcriptions
377
Section Two
Transcriptions of the Caprices
Introduction
There is yet no “Urtext” of the Caprices. The Edizione nazionale delle opere di Niccolo
Paganini (1976- ) is still in progress with six volumes completed and three in
preparation. There are a number of different editions of the Caprices available in both
hard copy and e-book, such as those edited by Kaspars Vilnitis,667 Harold Berkley,668 and
Fabrizio Ferrari.669 However, the Peters Edition670 is arguably the most renowned and
widely used performing edition, featuring the distinctive fingerings of the distinguished
violinist and violin pedagogue Carl Flesch. This, in conjunction with decades of
published reprints, makes it the preferred choice on which to base the transcriptions.
Transcriptions
The transcriptions have been faithful to the original notes, dynamics, note groupings, and
tempi of the Peters Edition. However, because the guitar is a transposing instrument the
actual sounding pitch is an octave lower. All octave transpositions (8va) in the Peters
Edition have been applied in the accompanying tablature, making any further
transposition unnecessary.
667 Ebooks, http://ebooks.ebookmall.com/title/paganini-24-caprices-for-violin-op1-paganini-vilnitis-ebooks.htm; assessed on July 4th 2007. 668 Nicolo Paganini. Paganini Op.1 Twenty-Four Caprices. USA: Schirmer, Inc., 1944 669 Nicolo Paganini. 24 Caprices Op.1. Virtual sheet music, Inc., 2005. 670 Nicolo Paganini. 24 Capricen fur Violine Solo Opus 1. London: Peters, 1984
378
Digressions from the original score
Due to the fact that this is not a scholarly edition, there are a number of digressions from
the original score that are not signaled in the normal manner with brackets and dotted
slurs. Figure 1 shows the bow strokes as given in the Peters Edition and the transcription
showing how these might appear in a scholarly edition using dotted slurs.
Figure 1
‘Caprice No. 5’, bar 1
Peters Edition
Transcription
A certain degree of licence has been taken in application of electric guitar technique.
One of the most apparent is the addition of the double-handed arrangements that appear
in a number of the caprices. Figure 2 shows how artistic licence can be used to its
maximum effect creating different timbral options. In contrast to the original violin
version, bars 12-16 of the transcription illustrate a more percussive right-hand technique.
However the double-handed arrangement is less abrasive in terms of timbre, bridging the
gap between the Peters Edition with the main transcription.
379
Figure 2
‘Caprice No. 5’, bar 8-19
Peters Edition
Transcription
Transcription
Double-handed arrangement
The difference in technical requirements between the instruments render violin fingering,
bow phrasing and positional information virtually irrelevant in terms of electric guitar
playing. Figure 3 illustrates how these factors have been replaced in the transcription
380
with tablature which provides positional information whilst suggesting fingering and
plectrum stroke information.
Figure 3
‘Caprice No. 12’, bar 62
Peters Edition
Transcription
Moreover, digressions from the phrasing provided by the Peters Edition occur in a
number of places. These have been replaced by phrasing idiomatic to guitar technique.
This is most apparent in ‘Caprice No. 17’ and ‘Caprice No. 24’, where hammer-ons and
pull-offs replaces the original phrasing. Figure 4 shows how the original bowing phrase
has been disregarded in favor of one that more clearly defines the note groupings per
string whilst using the more legato technique of pull-offs. This to some degree mimics
the original sound of the bow stroke whilst making it relevant for guitarists.
381
Figure 4
‘Caprice No. 17’, bar 7
Peters Edition
Transcription
Electric guitar harmonics differ to those offered in ‘Caprice No. 9’ to such a degree that
they are unusable in their current form. Although a multitude of harmonic techniques are
available, none suitably replicate the notation of ‘Caprice No. 9’, necessitating their
removal from the transcription. Figure 5 illustrates the removal of the harmonics and the
consequent effect on the overall passage.
Figure 5
‘Caprice No. 9’, bar 40
Peters Edition
382
Transcription
In addition to this, repeat bars have been added to ‘Caprice No. 15’ in bars 28 and 29 to
avoid repeating the same information. Due to the constant referencing of the material in
the text, bar numbers have also been added that do not appear in the original Peters
Edition.
Historical aspects
In Paganini's youth the diverse and colorful musical culture was evident in everyday life.
People in his neighborhood often sang ballads and gypsies played in the streets. Ligurian
dances and the music of bagpipers echoed through the rural outskirts of Genoa, and the
inheritance of the baroque violin was all pervasive. These musical influences can be seen
to a certain extent in the compositional style of the Caprices with influences such as
baroque, ballads, gypsy music and folk dance all present.
The influence of the hunting song, for example, can be clearly seen in ‘Caprice No. 9’,
with its cantering rhythm and a strong harmonic emphasis of thirds, sixths and the use of
fifths to create a fanfare-like melody.
383
Figure 6
‘Caprice No. 9’, bars 1-3
Peters Edition
Futhermore, Paganini gives the direction Imitando il Corno in the second answering
phrase in the lower octave to clarify the influence of the hunting horn.
Figure 7
‘Caprice No. 9’, bars 8-11
Peters Edition
In order to create the atmosphere of the hunt in transcription, it was necessary to assign a
plectrum motif that continually repeats down down up strokes. This effect colors the
rhythmic patterns and repeated phrasing of the melody whilst allowing the music to
maintain swift motion.
384
Figure 8
‘Caprice No. 9’, bars 1-3
Transcription
One of the musical tools favored by many composers from the baroque period,
particularly for the violin, was the use of sequences for both prolongation and
modulation. Throughout the 24 Caprices this compositional tool has been employed
extensively, as in this excerpt.
Figure 9
‘Caprice No. 9’, bars 64-71
Peters Edition
For this reason it was necessary to echo the sequential elements in conjunction with the
original musical intention by replicating the given bow strokes in the transcriptions.
Additionally, it is possible to further enhance sequential passages by replicating each
portion of the sequence using similar string choice and plectrum strokes.
385
Figure 10
‘Caprice No. 9’, bar 64-71
Transcription
‘Caprice No. 14’ presents another fanfare, but this time for trumpets heading off a March.
Figure 11
‘Caprice No. 14’, bars 1-2
Peters Edition
Due to the strong rhythmic element running throughout the “March” sections it was again
necessary to replicate more closely bow strokes with plectrum strokes in the
transcriptions. With the rhythmic element being so central it was also necessary to create
a staccato effect by utilizing the palm of the right hand as demonstrated below.
386
Figure 12
‘Caprice No. 14’, bars 1-2
Transcriptions
This Caprice actually demonstrates sequence in a way that reveals Paganini's earlier
influences and exposure to classical guitar technique with chords followed by single note
melody.
Figure 13
‘Caprice No. 14’ bars 13-17
Peters Edition
Within the transcriptions the rhythmic structure was to a certain extent preserved utilizing
down-strokes on the chords followed by an up-stroke or an up-down-up-stroke.
Although this doesn't exhibit the same smooth legato quality of notes under the same bow
stroke, it befits the influential opening rhythmic motif.
387
Figure 14
‘Caprice No. 14’ bars 13-17
Transcription
This musical figuration appears in a number of different places and is dealt with in a
number of different ways ranging from double-handed finger-tapping to nylon-string
finger technique, the choice being dependent on the individual musical needs of the
Caprice being played.
‘Caprice No. 20’ shows yet another influence of vernacular music on Paganini. Here is a
modal-like bagpipe tune over a D pedal drone.
Figure 15
‘Caprice No. 14’ bars 1-17
Peters Edition
388
An understanding of these and other musical influences provides valuable insight into the
way we perform the Caprices. These influences demand the performer to make technical
as well as aesthetic decisions when approaching these works—works that are not so
much self-contained but drawn from the world around them.
Presentation
The 24 Caprices and the corresponding transcriptions appear in their original published
order, each one prefaced by an accompanying technical overview.
Key for technical overviews
The technical overview table can be broken down into half-bars or eighth notes. The size
of the incremental breakdown is dependent on the technical building blocks and their
perceived relevance within each bar.
The numbered points within each of the technical notes correspond with a number and
asterix within the score.
Key
FH: First half of the bar
SH: Second half of the bar
p: pull-off
h: hammer-on
Scale B=♪
B1: 1st eighth
B2: 2nd eighth
389
B3: 3rd eighth
B4: 4th eighth
B5 5th eighth
B6 6th eighth
B7 7th eighth
B8 8th eighth
Chicken-picking and finger-picking guide.
P=Plectrum
T=Thumb
1=First finger
2=Second finger
3= Third finger
4= Fourth finger
Plectrum Stroke Abbreviations
Down Π
Up V
Down-strokes Πs
Up-strokes Vs
Down-Up ΠV
Up-Down VΠ
Down-Up-Down ΠVΠs
Up-Down-Up strokes VΠV
390
391
Down-Up strokes ΠVs
Up-Down strokes VΠs
Down-Down-Up strokes ΠΠVs
Consecutive Down ΠΠΠs
Strokes s
Caprice I: technical break down, overview and notes
Sweep-picking Alternate-picking Bar numbers
String-skipping Double and triple-stops
Combination of alternate-picking and sweep-picking
Double-stops
1-50 3 FH, 5, 6 SH, 7 SH, 8-13, 14 SH, 25 B1 and B3, 26 B1, 27 SH, 29, 31, 33, 35, 37, 39, 40-44, 49 FH, 50 SH
15 SH, 16, 21-24, 25 B2 and B4, 26 B2-B4, 27 FH
1, 2, 3 SH, 4, 6 FH, 7 FH, 13 FH, 14 FH, 15 FH, 17-20, 45-48, 49 SH, 50 FH
28, 30, 32, 34. 36, 38
51-77 51 FH, 54 FH, 56-58, 59 B1, 60 FH, 61-62, 63 FH, 65 B2-B4, 66
51 SH, 52, 53 FH, 75
53 SH, 54 SH, 55 B1, 60 SH, 63 SH, 65 B1, 67, 69-74, 76, 77
55 B2-B4, 59 B2-B4, 64, 68
Technical overview
‘Caprice I’ can be broken down into two very specific techniques; alternately-picked
double-stops and sweep-picked single notes. The technique predominantly used in the
theme consists of string-skipped sweep-picking. Alternately-picked double-stops serve
as a tool to aid modulation. The consistency of the plectrum technique helps imitate the
original ricochet bowing, giving it a similar feel on the electric guitar.
392
393
1. ΠΠΠs in the cadential areas (bars 15-17, 25-27, 51- 52) allow for a heavier
emphasis on the chords than would be possible using the more conventional
alternating-plectrum strokes. The use of ΠΠΠs are feasible because not only do
the thirty-second notes change to sixteenth notes but the cadential points also
allow for a relaxation in tempo.
2. In bar 45 the plectrum stroke on the last note is arranged so that the second and
third note of bar 46 is a string-skipped sweeping motion which is retained for the
rest of the bar.
3. In order to maintain stylistic continuity, bars 69-76 have been arranged to utilize
the same sweep-picking technique across fewer strings, giving the final cadential
phrase a legato feel and tone.
Technical summary
The majority of ‘Caprice I’ utilizes the sweep-picking technique. However, intermittent
use of alternately-picked double-stops occurs as does consecutive down-stroked triple
stops.
Andante I
simile
BEADGBE
76 9
9 99 6
7 6 99
7 7
99 6 7
6 99 9
9 67
79
8
7 7
8
97
76 9
9 99 6
7
4
6 99
7 7
99 6 7
6 99 9
9 67
79
8
7 7
8
97 4
7
4
4 4
4
74 5
7
6
5 9
69
6
6 6
6
96
7
79
8
7 11
1114
11
11 11
11
1411 12
14
13
12 12
13
1412 14
18
16
14 14
16
1814 16
19
16
16 16
16
1916 17
19
18
17 17
18
1917
10
13
12
1221 2112
12
13 16
15
1524 2415
15
16 13
12
1221 2112
12
1315
19
18
18 18
18
1915 12
16
15
15 15
15
1612 9
13
12
12 12
12
139
13
1
79
8
7 11
56
47 7
4
65 4
7
4
4 7
56
47 7
4
65 4
7
4
4 7
57
6
5
7
69
7
394
16
9
79
9
8
89
8
7
6
57
79
8
7
79
912
7 109
9 99
10 7 6 99
11 119
9 6 7 109
9 99
10 7
19
79
8
7 7
8
97
7 109
9 99
10 7 6 99
11 119
9 6 7 109
9 99
10 77
9
8
7 7
8
97 7
9
7
7 7
7
97
22
10
9
7
8 8
7
9
10 10
9
7
5 5
129
10 810
9
10 10
9
108 8
10
12
15 15
12
108 8
10
12
19 19
12
108 8
10
1222 22
12
108
25
1
810
9
8
912
12
12
1012
11
10
1114
14
14
1214
12
12
14
1214
14
101216
15
1216
1517
1417
15
1517
17
16
15
15 24 27
14
28
15
1615
1413
1212
1614
1412
1211
109
97
75
54
42
35
4
3 3
4
53 3
6
57 7
5
63 3
5
1615
1413
1212
1614
1412
1211
109
97
75
54
42
395
31
35
4
3 3
4
53 3
6
57 7
5
63 3
5
1615
1413
1212
1614
1412
1211
109
97
75
54
42
35
4
3 3
4
53 3
5
3
3 3
3
53
34
36
1514
1313
1211
1211
1513
1312
1110
108
86
65
53
46
5
4 4
5
64 4
6
4
4 4
4
64 4
7
1615
1414
1312
1312
1614
1413
1211
119
97
76
64
37
57
6
5 5
6
75 5
7
5
5 5
5
75 5
8
1716
1515
1413
1413
1715
1514
1312
1210
108
87
75
68
7
6 6
7
86 6
8
6
6 6
6
86
40
69
6
6 6
6
96 6
9
9
9 9
9
96 7
9
8
7 7
8
97 7
9
7
7 7
7
97 7
57
7 7
75
7 7
5
6 6
5
7
43
p
2
810
9
8 8
9
108 8
10
8
8 8
8
108 8
11
8
8 8
8
118 8
11
11
11 11
11
118 9
8
66 6
6
89
396
46
simile
8 11
8 1111 8
11 8 98
66 6
6
89
911
10
9 9
10
119
97
6 9 9 6
79 8 11
8 1111 8
11 8 97
6 9 9 6
79
49
1
911
10
9 9
10
119
97
6 9 9 6
79 7
11
7 9 9 7
117
1012
11
10 10
11
1210 11
10
9
9 9
9
10
11 1214
13
12
1014
13
12
52
9
79
9
1012
11
10
12
1114
12
1214
13
12
1214
13
12
7 119
9 99
11 7 77
55 5
57
7 75 8
5 5
8 57
55
1211
99 13
121110
99 10
9
1312
1110
99
1311
119
711
9
7 7
9
117 7
9
8
7 7
8
97 12
119
9
12
1214
13
12 12
13
1412
58
12
10
1012 12
10
10
12 1213
12
12 12
12
1312 12
9
912
1211
1412
1614 12
111413
1614 13
111413
1614
1414
13
12 12
1314
14 1413 16
11 11
16 1314
397
61
1214
13
12 16
139
12 1215
14
12 17
14
1512 12
14
13
12 16
13
1412 12
15
14
12 17
14
1512 12
14
13
12 16
13
1412
14
13
12
12
14 11
64
12
1312
1110
99
1311
119
98
1211
119
97
1211
119 7 11
99
9
911
12 1212
109
109
10
12 1211
99
9
911
12 1212
109
109
10
12
67
3
1211
99
9
911
12 810
89
89
12
99
119
12
1211
1412
1614 12
111412 11
91211
1413 f.b
99 12
9 9f.b
12 99 9
108
9 9
810
9
70
f.b9
9 129 9
f.b
12 99 8
77
9 9
77
8 65
55 5
55
6 44
45 5
44
47
67
9 97
67
97
8 9 9 87
9
73
f
76
9 9 9 96
7 87
8 9 9
cresc
87
8 76
9 9 9 96
7 87
8 9 9 87
8
0
769
0
769
76
9 9 99
9 67
69 9 9 9
9
9 6
1211
9
398
Caprice II: technical break down, notes and overview
Sweep-picking Alternate-picking Finger-picking techniques
Bar Numbers
Adjacent string motion and alternate-picking combination
String- skipping double and quadruple-stops
String- skipping and adjacent string motion
Finger-picking
Chicken- picking
Double- handed finger-tapping
1-50 24 B1 15 1-14, 16-23, 24 B2-B6, 29-50
24-28 24-28 24-28
51-84 54 SH, 55-57, 73 FH
84 51-53, 54 FH, 58-72, 73 SH, 74-83
Ossia 24-28 24-28
Technical overview
The starting position of ‘Caprice II’ is heavily influenced by the stretches that arise
during the piece. With smaller stretches comes greater control of the general tone of the
string; much of the fingering throughout the caprice, therefore, revolves around the
starting position.
399
A strict alternate-picking approach has been adopted throughout the piece with the pedal
note below or above the melody line determining whether a passage will start with a ΠV
or an VΠ. However, it is necessary to reverse the picking strokes on a number of
occasions in order to optimize the motion so that the plectrum moves towards the next
note wherever possible.
1. Bar 24 the ossia staff shows nylon string finger picking starting with two
hammer-ons. These hammer-ons allow time for the plectrum to be placed
between the first and second knuckle of the second finger. The plectrum stroke
in brackets on the first note of bar 24 can be played if desired (this is dependent
on how fast an individual can place the plectrum between the first and second
knuckle) instead of the hammer-on.
2. At the beginning of bar 24, the picking is reversed by using two sweep-picked
Πs; this method of stroke reversal occurs on a number of occasions.
3. Reversing the picking stroke is seen again after the repeats at the end of bar 34.
On the first pass, picking is strictly alternate as indicated by plectrum strokes
immediately above the notes. However, the plectrum strokes on the second pass
are notated in brackets with the reversal occurring in preparation for the pedal
note below the melody in bar 35.
4. The plectrum motion in bars 54-57 changes for the descending diminished
arpeggios from alternate-picking to sweep-picking.
5. For the correct picking orientation to occur in these arpeggios, the last note of
beat one in bar 54 and the first note of beat two are both sweep-picked Vs.
400
401
6. The first half of bar 73 is a sweep-picked arpeggio which allows alternating
plectrum motion to be maintained until the end of the piece.
Double-handed arrangement
The guiding principle in the double-handed arrangement is that the right-hand executes
the larger chord double-stop stretches, whilst the left hand stays closer to the headstock.
Technical summary
With some minor exceptions, ‘Caprice II’ has been arranged to utilize string-skipping
alternate-picking. A large proportion of the caprice is based around a pedal note either
below or above the melody. When the pedal note is above the melody, the optimal
picking motion is ΠV and when the pedal note appears below, the VΠ pattern is utilized.
The technique used throughout the caprice to reverse the plectrum motion is two sweep-
picked notes in the same direction.
Moderato
II
dolce
BEADGBE
9
12 11 12 10 12 8 1211
129
12
12
12
11
12
9
12
8
12
9
12
12
12
11
11 8 1111
119
117
11
11
11
9
11
8
11
9
11
11
117
119
11
5
12
12
9
12
12
12
10
12
9
12
12
12
10
10
9
10
7
10
10
10
9
10
10
10
9
10
9
10
10
10
9
10
8
10
9
10
8
10
7
10
6
10
9
10
10
10
8
10
9
9
9
8
9
5
9
9
9
9
9
9
9
10
12
9
10
12
14
10
12
9
12
8
12
9
1111 11 10
99
11
12
12
8
9
9
10
10
12
10
14
10
12
10
11
10
10
13
9
11
9
11
10
10
9
11
9
11
10
10
9
11
9
11
9
9
9
14
9
14
10
11
9
1112
14 1314 1214 1014111414
1412
14
12
14
10
14
9
14
12
14
10
14
18
14
14 13 14 12 1413
1414
1412
1411
14
10
14
14
14
14
1514
1513
15
12
14
12
14
10
14 1214
1212
10
12
12
12
9
12
11
1214
1511
15
12
14
402
22
2
Finger-picking
h
1
h 13
T
31
TTT
31
T
31
T
31
T
31
T
1
2T
3
1T
3
1T
2
1 T3
1 T
12 16
Chicken-picking 2
4
P
42
P
4
2
P
42
P
42
P
4
2P
2
3P
4
2P
4
2P
3
2 P4
2 P
1211
1112
11 14
14
14
10
14
12
14
14
1414
1414
12
12
12
14
12
10
12
12
1212
11 14
14
013
13
014
14
012
12
011
10
09
9
70
1112
12
1212
9
9
120
11
1212
12
12
26
2
F.P1
2
T
13
T
13
T
13
T
13
T
13
T
1
3
T
1
2T
1
3T
1
3T
2
1 T 1
3T
2
1 T 1
3
T
1
3
T
1
3
T
1
3
T
1
3
T
C.P
2
3
P
24
P
24
P
2
4
P
24
P
24
P
24
P
2
3P
2
4P
2
4P
3
2 P 2
4P
2
2 P
2
4
P
2
4
P
2
4
P
2
4
P
2
4
P
011
014
14
013
13
014
14
012
12
011
10
09
9
12 011
12
12
1212
9
9
120
11
1212
12
120
110 16
17
0 14
15
0 12
14
0 14
15
0 16
17
15
17
19
17
19
19
19
15
19
19
22
16
22
403
30
17
21
19
22
21
24
22
26
19
22
20
19
19
17
17
14
15
14
17
20
20
17
14
17
01919
01817
01615
01414
01212
01110 12
10
8
1414
8
1212
8
1110
01412
0119
0
34
3
2
12
9 10
1112
9 10
1211 91211 9
7 6 7
7
7
11
7
10
7
9
7
8
7
7
7
9
7
8
7
7
7
11
7
9
12 11 12
7
12
8
12
9
12
10
12
38
2
11
12
12
12
9
12
12
12
10
12
9
1212
12 11 12
12
12
16
12
15
12
14
12
13
12
16
12
14
12
13
12
12
12
16
12
14
17 16 17
12
17
13
17
14
17
15
17
42
16
17
12
17
14
17
12
17
16
17
14
1714
12 11 12
14
12
14
12
13
12
12
12
11
10 9 10
10
10
10
7
10
8
10
9
12
1013
10
12
10
12
10
11
10
10
10
404
46
2
smorzando
9
8 7 8
8
8
8
5
8
6
8
7
6
8 7 8
8
8
10
8
9
8
8
8
12
8
11
8
10
8
9
8
12
8
9
8
6
8 7 8 8 8 7 8 6 8 5 8
50
p
4 88
87
86
87
88
79
7 5 8 6 9 7 10 8 11 9 12 108
119
1210 8 11 9
710
8
53
5
4
119 7 10 8
79
810
9 7 10 86
97
108
11 14 1112
14
13 1011
13
12 910
12
11 89
11
10
56
78
10
9 67
9
8 56
8
7 45
7
6 34
6
6 34
5
6
9
11 10 11
7
11
10
12
9
9
12
15
405
59
2
2
11
12
12
15
9
9
10
12
12
12
13
16 15
14 1314
17
13
1514
12
12
14
11
15
14
17
14
18
14 13
14 13 14
14
14
15
14 13 14
14
1415
14
14
11
12
12
63
12
14 13 14
13
14
14
14 13 14
12
14
10
14 13 14
10
14
12
15
10
14
9
12
12
15
14
17
15
19
14
17
12
15
11
14
9
12 11 14 10 1212
1211
129
12
68
12
12
11
12
9
12
8
12
9
12
12
12
11
11 8 1111
119
117
11
11
11
9
11
8
11
9
11
11
117
119
11
12
128
129 12
11
10
1211
912
72
6
segue
119
13
11912
10912
101212
98
67
68 7
6 9 7 6 9 12 10 9 15 14 1215 14 12 11
121112 14 15 12 14 11 13 10 12 9 11 8
406
76
p
segue
10 7 9 6 8 5 78
77
56 77
6 8 6 74 6 4 6 7 4 6 3 5
74
63
5 7 4 6 3 57
46
35 7 4
80
105 8
58 9
7 9 7
9 8 99
119
12 11 1211
1412
19 18 19
16
19
19
21 20 21
19
21
12
12 11 12
12
12
9
12
9
12
10
12
79
7
7
407
24
Double-handed arrangementbars 24-28
Righthand
Left hand
h h
1211 14
19
10
1318
10
1419
10
1217
10
1115
10
914
7
10
11 7
12
12 7
9
14 7
10
117
12
127
26
R.H
L.H
10
11
5
1419
5
1318
5
1419
5
1217
5
1115
5
914
7
10
11 7
12
12 7
9
97
10
117
12
127
10
11
516
17
514
15
512
14
514
15
516
17
5
408
Caprice III: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Sweep-picking adjacent string motion and string- skipping
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Octaves
1-50 25 B1, 32 28, 34, 39-43, 50
25 B2-B3, 26-27, 29-31, 33, 35, 37-38, 44, 45-49
1-24
51-100 51-54, 57, 67, 71-83, 88-90,92-93
55-56, 58-66, 68-70, 84-87, 91, 94-100
101-112 102 101 103-112
Technical overview
‘Caprice III’ is broken into three sections which utilize two distinctive techniques. The
first and last sections employ alternately-picked octaves. Within these two sections,
many of the octaves utilize ΠΠΠs rather than a strict VΠ motion. This serves to control
the tone of the octaves and retain uniformity of sound. An V is used only in the faster
sixteenth-note octave runs where the continuity of string tone can suffer if ΠΠΠs are
used.
409
410
All the octaves share the same shape on the fingerboard being performed by either the
first and third fingers or the first and fourth fingers, depending on individual preference.
The scalic octave patterns are arranged to keep position shifts to a minimum.
Within the presto section, finger-barrés are common when notes on different strings
occupy the same fret. Where possible, sweep-picking accompanies the finger-barrés to
further optimize the plectrum motion.
Technical summary
In each of the three musical sections, variations on alternate-picking and sweep-picking
techniques are used.
Sostenuto III
f
BEADGBE
7
9
9
11
10
12
7
910
12
12
14
14
16
10
12 10
13
9
12
12
14
10
12
9
11
12
14
11
13
13
15
12
14
10
12 15
17
14
16
12
14
10
12
9
11
12
14
10
12
8
10
7
9
10
12
8
109
12
7
7
10
5
8
9
11
7
9
6
8
10
12
6
89
11
7
9
8
10
11
137
99
12
11
14
12
15
9
1212
15
14
17
16
19
12
15
18
20 17
20
16
19
19
2116
19
17
2017
20
14
17
16
19
17
20
19
22
21
24
14
1712
15
16
19
16
p
pp
33
14
17
9
11
10
12
12
148
10
10
12
12
149
11
11
13
12
14
14
16
15
17
10
12
10
1210
13
9
12
10
13
12
14
13
15
12
1412
15
9
11
7
9 5
8
7
104
7 05
3
5
5
72
4
05
Presto25
1211
99 13 9
f.b f.b13 14
11 1212 14
f.b
1313 16 14 10 13 11
119
1213 14 11 14
13 1211 14
1210 9
8 119
f.b
12 1010 11 8
10
32
f.b
1311 9
1111 12 f.b
13 1113 11 10
14
f.b
12 1313
910 11
11 911 9
13
13 10 1112 13
139
1314
1213 11
11
1416
1314 13
12
411
39
1214 11
14 1316 13
16 14
1314 13 11
14 1114 13
16 1316 14
16 15 14
f.b16 17
16 1212
14
f.b15
1414
1413
16
45
16 13
14 11 1214 12
16 15 16 14 15 12 13 10 1113
912 13 10 11
139
10 1114 11 12
14
0
12
14
51
f.b1211
99
89
11 812
11 89
f.b1210
99
79
11 712
11 79 10
13
9
13
12
13
56
10
13
9
13
12
13
1512 11
12 13 10
f.b
8
15 14 15 1212
14
13 12 13 1011
13
12 11 12 89
1114 13 14 10
12
62
1112 1112 10
12f.b
109
99
79
10
9
8
9
7
9
f.b12
1010
108
10
f.b12
10
10
10
8
10f.b8
10 91010
12 9
8 7 8 57 5
8 7 87 4
412
70
11
10 9 10 79 7
911
12
1012
f.b12
1214
12
1415
15
1214
15
910
f.b10
1012
10
1213
75
8
57
8
78
f.b8
810
1211 8 f.b6
5 88
78
f.b7 8
5 66 8 7
75
89
7 55 8 6
8 6 5 86 9 8
7
82
5 87 6
5 8
f.b
11 810
10 11 811 13 12
1210
13 912 109 12 10
11 131211 13 12
1210
13
13 1012
f.b
1112
1313 10
12
89
f.bf.b
1111
1313
14 11
1211
13 99
1112
14 13 14 1214 f.b12
119
99
98 9
11 12 8 10 98 11 9
108
11 810 7
9 7
96
6 97 10
8119 12
119
1112 9 15 12
14 11 14 1212 11 12 10 11
13 14 11 12 9 101213 10 11
1310
1311
1414
1214
413
Sostenuto
103
f
p
6
7
9
9
11
10
12
7
99
11
12
14
10
12
7
9 9
12
11
14
12
15
14
17
12
14 17
20
16
19
19
22
17
20
19
22
15
189
1207 0
5 07
7
0
1217
414
Caprice IV: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Thirds, octaves and triple-stops
Double- handed finger-tapping
Bars 1-50 1, 4-5, 21.22 FH, 23 FH
2-20, 22 SH, 23 SH, 24-50
12-16, 50-51
51-100 78 51-77, 79-100 51-54, 64-77, 84-97
101-124 101-124 116-124
Technical overview
‘Caprice IV’ utilizes many variations on alternate-picking and sweep-picking, which are
influenced by the multi-stopped nature of the piece.
1. Bar 21 utilizes sweep-picking double-stops to sweep-picked single notes. The
picking is organized in such a way so as to make the string-skipping easier. The
motif occurs in groups of three; the first two notes sweeping in an upward
direction with the third changing the direction of the pick and moving it towards
the next group of three notes.
415
416
Double-handed arrangement
Throughout the double-handed arrangements, both the right and left hands swap between
single notes and double-stops. The deciding factors when assigning a note or notes to a
certain hand are duration, stretch, position shifts and voice exchange. In ‘Caprice IV’,
however, the majority of the fingering is dictated by the notes’ durations and their
physical stretch. For example, in bars 67 and 68 the accompaniment is exclusively in the
left hand whilst the melody is in the right. In bar 74, however, the double-stopped
sixteenth notes are played with the right hand while the left hand plays the descending
notes. As the stretch increases, it becomes increasingly difficult for the left hand to tap
out the double-stopped notes.
Technical summary
‘Caprice IV’ can be reduced to one technique, alternately-picked multiple stops, with
occasional sweep-picking to facilitate optimal plectrum motion.
Maestoso
Caprice IV
p
f
p
BEADGBE
3
5 55
5 7108
108
57
108 7
688
88
76
108
97
108
397
8
10
9
11
8
10
5 55
5 7
6
f
108
108
57
108 7
688
88
76
108
97
108
97
8
10
9
11
8
10
9
11
9
1110
13
8
11
6
9
10
12
10
12
8
10
9
11
8
10
9
9
9
9
812 10
9
9
12
8
1010
10
9
8
109
813 12
11
1012
1014
1312 13 12
11
1012
911
13 910
11
8
10
8
7 5 7 8
8
57
8
55
8
5
17
86
108
1110 8
6109
1210 9
7108
1210 8
8109
12
12
10
13
11
10
11
12
13
13
15
15
16
17
19
19
20
21
22
22
23
1615
1311
1210
1311
1513 11
101311
1514 12
101412
1513 12
101312
1513
417
20
1
12
12
8
14
15
10
11
12
13
13
15
15
16
17
19
19
20
21
22
1513
1210 8
6
9 8
86
9 8
66
9 8
66
9 8
911
12 10
911
12 10 1313
109
1010
1110
13
11
9
8
23
911
12 10
911
12 1013
13
10
10
12
10
13
10
1112
1311
1110
1413
1515 15
13
1716
1515
1315
1312
1311
1315
1312
1311
1211
12
11
10
10
13
13
12
11
10
10
13
12
12
10
8
8
13
10
1112
1311
26
1110
1210
1312 12
10
1513
1312
1112
119
118
1112
119
118
108
1013
13
12
11
10
10
8
13
12
11
12
10
8 1713
1515
1715
1311
1110
13 13 13 13
1110
1311
1513
29
658
12 12 12 12
131112
111013
131112
131112
111013
131112
1614
1614
1513
1311
418
32
h h h
f
12 13 15
111013
1211
11
1110
11
1211
11
1110
11
1211
11
1110
11
1211
11
1110
11
1211
1312
1513 12
111313
1515 13
111513
1615
1513
1311
1515
1313
1211
1513
1312
35
dim
1013
13 1112
14 1013
13 1112
14 1013
13 1112
14 1013
13 1112
1415
13 1312 12
10
1513
1312 12
101513
1312
1210
1513
1312
1110
1513
1311
1110
1513
37
p
cresc
811 6 7
5
9 811 6 7
5
9 811 6 7
5
9 811 6 7
5
9 811
11 1210
9 811
1197
6 58
8 97
6 58
8 119
8
39
molto cresc
710
10 119
137
1010 14
1010 8
1111
97
6 58
9 118
9 68 5
78 5
88
7
98
8
1210 10
8108 8
787
1110
1110 10
8
41
f
h h
11
13
15
17
18
15
16
13
15
16
17
15
15
13
13
16
17
13
13
15
15
16
17
13
15
15
16
17
18
13
15
68
9 11
12
118
11
1212
11
1313
11
1110
10
1211
10
98
8
109
8
76
6
419
44
dim
p
88
6
108
976 8
97
8
108
8
1210
10
1311
10
10
10 866 5
55 8
9
812 7
7 555
888
6
7
6 555
8
46
cresc
f
86
108 6
5
108
86
65
108
86
65
13
13
10
10
12
11
8
9
11
10
13
12
910
8
6 10
11
11
13
8
10
10
11
12
13
13
15
15
16
17
18
15
16
13
15
12
13
10
11
8
10
11
13
10
11
48
911 8
6 66
6
5108 8
9 98
1311
1312
14
13
15
11
12
12
13
9
10
10
11
12
14
13
15
10
12
11
13
9
10
10
11
7
8
8
9108 14
1110
11
87
8
108
10
50
h h
68
79 11
8
711
8
6
8
6
9
6
6
6
812 11 10
10
8
10 9 8
68
8 711
14 13
68
912
10
910
8
6
58
8
6
68
10
8
420
55
p
8
67 6 4
876 5 5 5
11 76 5 5 5
45
36
7 6 4
59
f
67 7
9 9 8 69
86 6 5
867
49
84
6 6 58
9
910
8 811 10
9
9
64
9
8
6
9
8
6 68 6
58
5
8 6 5 688
108
108
108
6
9 8 698
6
8
6
8
6
911
119 9
13 11
911
68
811
11
811
9 913 11
12
11
119 9
13 11
810
10
8
10
9
11
7
9
12
118
10
5
7
6
8
8
10
9
11
7
9
8
10
5
7
11
13 16
15
16
15
16
15
14 13 12
421
72
810
1010
13
11
14
9
12
10
13
7
10
8
11
5
8
11
14
9
12
10
13
7
10
8
11
11
11
11
11
11
11
9 8 7
74
9 8 7810
10
11
11
11
11
11
11
810
10
10
9
9 7 6
11
8
9 7
8 8
7
7 68
9
6
7 6
9
1111 8
9
77
h h
p
9
8
68
5
9
6
5
4 44
4 697
97
46
97
119
80
76
76
66
56
58
66
119
66 8
119
119
1113 11
91311
422
83
f
1413
1413
13 12 9 79
8
1379
8
119
11
99
9
79
856
6
46 9
13 11
11
9
86
6
5
569
56
9
7
811 9 9
9
57
65
6
46
7
79
87
8
68
9
9
79
10
6
47
7
89
cresc
1214
13 13
1214
1215 13
11
9
9 9
11
9
1215 13
10
9
9 9
10
9
9
10
9
9
10
9
9
10
9
8 8
15
14
1317 15
8
5
6
8
58
6
68 7
6
5
94
9
6
710
9
9
812 10
8
109
9
9
9
910
9
9
812 10
8
109
9
910
812 10
8
108
11
14
11
15
11
14
12
15
8
11
9
12
10
12
89
9
99
f
98
8
87
8
98
8
87
8
98
8
87
8
98
8
87
8
98
109 7
698
1010
1212 10
81210
1312
1210
108
1212
1010
98
76
109
912
12 1011
13 912
12 1011
13 912
12 1011
13 912
12 1011
13
423
102
dim
p
9
8
97 5
576
98
1010 8
7108
1210
108
87
1010
98
76
55
97
710
10 119
8 710
10 119
8 710
10 119
8 710
10 119
8
104
cresc
710
10 119
8 710
10 1311
10 912
12 1311
10 912
12 1513
126
54
108
7 6
54 8
54
7
65 8
75 4
88 10
88
106
molto cresc
58
9 68
9 78
7
88
8f
8
10
12
9
10
7
8
10
12
8
10
7
8
10
10
8
9
10
10
7
8
8
10
10
12
7
8
9
10
10
12
1110
1413
1413 13
111311
1614
1614
1917
108
h h
dim
8
5
10129
12 5
8
99
8
1010
8
87
7
98
7
65
5
76
5
97
855
3
75
6
97
6
64
5
75
5
97
7
108
7
7
7 5
111
p
cresc
78
12 76 10
610 9
99
11 76
10 55 8
9
811 7
610
108 7
587
75
108
87
75
9
8
8
815
15
12
12
9
8
10
10
8
7
10
9
8
8
424
113
87 15
17
17
18
19
20
15
17
17
19
19
20
21
22
22
24
21
22
19
20
17
19
15
17
19
20
17
18
15
17
10
88
7 75 5
61010
1413
14
13
1413
1110
11
87
8
108
10
1210
11
115
h h
8
21
23
22
24
20
21
21
22
18
19
19
20
16
18
22
24
19
21
20
22
18
19
19
20
16
12
13
13
8
97
10 12
12
12
810
9
8
7
5
8 812 11
810
11 1010
14 13
912
119
1012
13 12
109
12
121012
141212
978
1098
9
810
8
10
9
88
5
67
87
5
364
6 58
122
10fr
8fr
87
5
364
6 58
87
5
8
57
7
810
9
8
425
12
Double-handed arrangementbars 12-16
Righthand
Lefthand
31010
1014
3108 17 18 17
111517
1013
1717 18 17
111517
911
17 1315 11
8
10
8
12 10 12 13
81012
81010
8
10
50
bars 50-54
R.H h h
L.H
68
1213 15
81213
811
811
91116
16
18 17 16
811
1615 14 13
68
13 1215 14 13
68
13 12
59
10 13
61013 8
611 85
8
64
bars 64-77
R.H
L.H
91316
913
15 1518 16
58
10
8 6 5 688
108
108
108
11
9 8 698
118
118
119
1115
911
14 14 1315
81115
811
14 14 1315
11
1115
14 14 1315
11
11
426
70
R.H
plectrum strokes
plectrum strokes
plectrum strokes
L.H
81014
8
10
9
11
7
9
8
10
5
7
6
8
8
10
9
11
7
9
8
10
5
7
11
131115
1115
1115
81014 10
13
11
14
9
12
9 8 7
10
13
7
10
8
11
5
8
14
11
11
8
11
10
13
7
10
8
11
1115
1115
1115
9 8 7
74
R.H
h h
L.H
9 8 781014
1115
1115
1115
81014
59
13 11 10
68
13 11
811
13
16 15 13
91116 15
9
1516 13
91316 13 15
911159
84
bars 84-97
R.Hf
L.H
f
79
13
79
13
119
16
99
14
79
131011
69
11
69
14 1311
11
10
10
69
1011
912
131614 14
14
57
11 14
69
1111
79
13 16
81113 18
91214 19
69
11 16
69
13 1216 1512
10
9
427
90
R.H
L.H
69
13 13
69
12 1112
59
13 13
59
13
59
13
59
13
59
12 12
58
13 12 10
81015
81013
6
15 13 12
610
94
R.H
L.H
46
12 10
49
13 12 10
3109
49
49
10
49
13 12 10
3109
49
10 13 12 10
3108
49
116
bars 116-124
R.H
h h
L.H
31412
10 127
12
8101317
79
17 17 16 15
81015
912
1315 14 13
1012
1316
1513
8
1715
8
1817
8
428
120
R.H
L.H
1312
8
1513
8
91314
8
1014
1312
1015 12
86
10
8
613 11 10
13 86
10
8118
11 1013 8
610
8
101215
8101317
429
Caprice V: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Bars 1-50 1-2, 6-7, 13-17- 20, 23-28, 33-36, 38, 40-50
3, 4-5, 8-12, 21-22, 29-32, 37, 39
51-62 51-56, 58, 61-62 57, 59-60, 63
Ossia 11-12, 13 B1-B2, 24-28, 33,34 FH, 40-41
44-50
Technical overview
‘Caprice V’ can be broken down into two technical areas; the introduction and
conclusion, and the middle section. The approach taken in the introduction and
conclusion is almost identical in technique even though modulation has occured. The
ascending arpeggios require a combination of sweep-picking and alternate-picking with
alternate-picking used in the scalic portion. As every consecutive ascending arpeggio
increases in range, the scalic segment increases in length, making it necessary to shift
position in order to accommodate all the notes. When these linear shifts are made
gradually they are less audible and less abrupt. To assist this, the notes have been
430
431
arranged in a four-notes-per-string pattern rather than the more common three-notes-per-
string pattern, making a slide possible on the last note. In bar 1, for example, the first
scalic pattern is arranged three-notes-per-string; in the second run, a combination of three
and four-notes-per-string can be seen.
The main body of the caprice, which begins in bar 4, comprises the second technical area.
This is characterized by a combination of alternate-picking and sweep-picking.
1. The ossia staff that appears in bar 11 and 12 offers an alternative picking option
that combines hammer-ons with sweep-picking. The use of hammer-ons changes
the tone quality of the notes considerably due to the lack of pick attack. However,
in this case beat two of bar 13 sees the start of two bars of sweep-picking with the
ossia staff functioning as a timbral bridge between the aggressive alternate-
picking that occurs in bar 8 (the introduction of the theme an octave higher) and
the sweep-picking in bar 13.
2. Bars 24 to 28 and 33 to 34 offer an alternative plectrum idea in the ossia staff
with groupings of two as opposed to single stroke alternation.
3. The ossia staff of bars 40 and 41 offers a contrasting alternately-picked approach
from the sweep-picked main staff.
Technical summary
'Caprice V’ has an even distribution of two different techniques; the first alternate-
picking and sweep-picking combinations, the second straight alternate-picking.
V
BEADGBE
108
7 1210
9 1413
12 17 15 13 1215 13 12
14 13 1014 12 10
14 12 1113 12 10
13 12 108
7 1210
9 1413
12 17 20 19 17 1618 17 15
17 16 14 1315 14 12 10
14 12 1113 12 10
13 12
2
108
71210
9 1413
12 17 20 24 22 20 1922 21 18
21 19 1721 19 1815
1917151417 161312
1513 12 108
7 1210
9 1413
12 17 20 24 29 27 25 24 2225 24 22 21
22 21 1922 21 19 18
201917201917 16
18171513 12
3
10 11 12 139 10 1112
8 9 10 117 8 9 10
6 7 8 96 7 8 9
59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 9
13 12 11 10
7
5
5
Agitato 4
simile
5 87
8 75 7 5
8
7 58 7 5
8 7 5 87
8 75 7 5
8
7 58 7 5
8 7 5 97
9 55 8 5
87
87
f.b8
87
8
7
4 78 5
8 5
76 7
64
54 7 10 12
12 1514
15 1412 14 12
15
14 12 1014 12 10
14 12 1514
15 1412 14 12
15
14 1215 14 12
15 14
432
10
1
h
h
h
h
h
h
12 1614
16
14 1215 14 11 12
16 14 1215 14 12
15 14 1215 14 15
1213 12 15
1512 10 13
1410 8 12
128 7 10
107 5 8
85 4 8
84
13
h
3 78
7
f.b
87
55
108
97
1210
109
f.b13
1210
10
14
1315
17 15
1719
20 15
1517
1915
17 16 1417 15 14
15f.b
1516 14 12
16 14 1314
16
f.b
1414 12 10
14 12 1112
f.b
1212 10 9
f.b
12 10 910
1010 9 7
10 9 710 9
75 8 f.b
f.b
88
910
1012
13 8 f.b
78
79
1010
12 8
75 8
7
19
8
8 7 6 59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 f.b8
77 5
7
58 5
f.b
87
88 7
58 5
f.b
87
88 7
58 5
22 1.
1.
2.
2.
2
87 5
8 78 5
7 5 8 7 5 45
7 4 8
57
8 6
57
6
f.b5
88
10
f.b
8
76
8
f.b
10
1010
12 10
911
10f.b
812
1213 12
1110
12
10
20 1517 15
19 1615 13
17 1213 12
16 1012
433
25
f.b13
1212
13 11
1012
11 f.b10
88
10 812
1113
f.b10
1515
17 15
1416
15f.b
13
1212
13 12
1110
12f.b
13
1212
13 11
1012
11f.b
10
88
10 8
76
8
1317 12
13 1115 12
11 1013 8
10 812 6
8 10
20 1517 15
19 1615 13
17 1213 12
16 1012 13
17 1213 11
15 1211 10
13 810 8
12 68
28
f.b10
1111
12f.b
10
1012
12f.b
8
88
8 7
76
710
8 7 6 59 8 7 6
9 8 7 610 9 8
15
20 1517 15
19 1617 13
17 1213 12
16 1012
30
711 10 9 8
12 11 10 8 1111 10
12
1013 10
13
13 12 11 10 913 12 11 10 9
13 12 11 1014
32
2
13 12 11 1014 13 12 11 9 13
13 118
1114 11
f.b9
1111
13 10
911
13 f.b11
1313
14 12
1113
15
916 11
13 1014 11
13 11
13 89 7
11 810
434
34
f.b13
1010
11 913
1514 f.b11
10 710
10
910
15
46
56
7 86
8 69 8
11
12 1311
13
815 10
11 913 10
9
36
11 1013 11 f.b
12 1312
1313
13 1011 10 11 9
11 98 11 8
119 11 9 8
11 1013 11 9
13 11
38
98 11 8
911
911
f.b10
119
1111
98
911
10 13 1013
11 13 11 1013 12 10
13 11 1013
40
1110
810
1113
1113
f.b12
1311
1313
1110
1114
1315
14 13
1011
13 11
1012
11 9
1113
13
65 8 5
68 11 8
78 11 8
86 10 6
913 10
9 8
10 68 6
10 76 4
11 88
435
42
4
56
8 47 4
6 f.b7 119
9 f.b87
7 11
f.b6
68 5
6 46 3 f.b4 7
66 f.b4
44 7
44
1211
911
1412
912
f.b11
99
912
109
10
f.b13
1111
1114
1311
13
f.b15
1313
1316
1415
14
1211 14 11
1412 14 12
1614 19 14 12
10 1415 13
11 16 1114
13 16 1315
13 18 1316
14 20 14
46
1311
1211
1413
1213
1412
1112
1311
1211
1210
910
119
109
108
78
97
87
1311 16 11
1413 16 13
1412 15 12
1311 16 11
1210 13 10
119 14 9
108 11 8
97 12 7
48
86
56
75
65
75
45
64
54
53
23
42
32
32
32
32
42
86 9 6
75 10 5
75 8 5
64 9 4
53 6 3
42 7 2
32 7 2
32 8 2
436
50
f.b12
119
99
7 12 16
f.b
1010
1010
1010
1110
f.b9
97 12 16 19 24 28
1413
1213 12 15
1215 13
17 15 1317 15 13
16 1413
1213 12 15
1215
53
1317 15 13
17 15 1414 f.b
1515 13 12
15 13 1212
1313 12 10
f.b
13 12 1010 f.b
1212 10 8
f.b
12 10 99
55
1010 8 7
10 8 69 8
8 57
8 57
6f.b
f.b
8 55
57
78 5
7 4
7 46
57 4
57
10
14 13 12 11 10 913 12 11 10 9
13 12 11 10 9 8 7 610 9 8 7
10 1313 12
912 10
12
59
10 13 1210
1312
9 12 10 13 1210
1312
9 12 10 13 1210
1312
9 12 10 13 1210
1312
9 12
437
61
108
7 1210
9 1413
12 17 15 13 1215 13 12
14 13 1014 12 10
14 12 1113 12 10
13 12 108
7 1210
9 1413
12 17 20 19 17 1618 17 15
17 16 14 1315 14 12 10
14 12 1113 12 10
13 12
62
108
71210
9 1413
12 17 20 24 22 20 1922 21 18
21 19 1721 191815
1917151417161312
15 13 12 108
7 1210
9 1413
12 17 20 24 29 27 25 24 2225 24 22 21
22 21 1922 21 1918
20191720191716
181715 13 12
63
10 11 12 139 10 11 12
8 9 10 117 8 9 10
6 7 8 96 7 8 9
59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 9
13 12 11 10
7
5
5
438
Caprice VI: technical break down, notes and overview
Bar numbers
Single-finger finger-tapping
Hammer-ons and pull-offs
Double-handed finger-tapping
1-52 1-22, 23-37, 38 SH, 39-52
23,38 FH
1-52
Technical overview
‘Caprice VI’ is the only caprice that can be played almost entirely utilizing one specific
technique whilst retaining its original legato feel. By utilizing single-finger finger-
tapping in conjunction with hammer-ons and pull-offs it is possible to achieve a similar
tone quality to that of the original.
The transcription is arranged to take advantage of single-finger finger-tapping. The
arrangement used is illustrated in bar one, with the left hand tapping out and holding
down the first two-note chord (G and D), using the first finger of the right hand to
hammer-on the B note and pull-off back to the G. Unlike the double-handed
arrangement, where the hands function independently of each other, the success of this
technique requires interdependency between the hands.
439
The only exception to the single finger-tapping occurs in bars 23 and 38 where a single
note is held down by the tapping finger and hammer-ons and pull-offs in the left hand
create the tremolo. This is employed to avoid the unusable fingering that arises if single
finger-tapping is strictly adhered to.
Double-handed arrangement
This caprice can be divided into two individual parts, the melody and the
accompaniment. Not bound by traditional guitar technique, it is possible to assign the
melody to one hand and the accompaniment to the other. With a few minor exceptions
(illustrated in point 1) the accompaniment is played with the right hand and the melody
with the left, which not only provides an easier memorization tool but also helps preserve
the continuity of the melody.
The accompaniment can be divided into two distinctive techniques. First, a hammer-on
and pull-off that occurs when two notes are played as a tremolo on the same string,
secondly, two hammer-ons that occur when the tremolo notes appear on different strings.
The majority of the tremolos take place between different strings although, when
necessary, the two notes can occupy the same string through a slight alteration of
technique.
Although there is no timbral preference between the two methods, a tremolo between two
strings has a less legato feel due to the difference in the physical playing action.
440
441
1. As stated, most of the tremolos have been assigned to the right hand. However,
there are places where it is necessary to reverse the role of the two hands. This
reversal occurs when the melody and harmony occupy the same area on the
fingerboard, or the two hands are in very close physical proximity to each other.
Examples of this can be seen in bars 10, 17-18, 37 and, 47.
2. Tremolos can be more difficult to play between strings that occupy the same fret.
The end of bar 1 illustrates how to avoid a tremolo between two strings on the
same fret by using a combination of hammer-ons and pull-offs and a wide stretch
in the right hand (also see bar 27).
3. Bar 8 sees the left-hand notes appearing first between the two trilled strings and
then below them. Avoiding accidentally striking one of the trilled strings is the
key to performing this passage successfully.
Technical summary
The one finger finger-tapping technique is used almost entirely throughout the piece.
(Adagio) VI
ph
h T T T T T T T T T T T T T T T T T T
h
h
T T T T T T
h
h T T T T T T
h
h
T T T T T T 12 12 12 12 12 12
BEADGBE
p
75 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8
8
5 13513513513513513 5 125125125125125125 10510510510510 510
78
2
h
h T T T h
hT h
h
T hh
T h
h T T T hh
T h
h
T h
h
T h
h T
T
T
h
h
T
h
h
T
h
hT
simile e sempre legato
75 8 5 8 5 8
8 12
7
6 10 5 8
58 7
8 11 8 11 8 11 8 11
10
9 12 9 12
710 5
5 8 5 8 4 76 128
5 10 5 96 5
5
h
h
T T T
h
h T h
h T h
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h T T T h
h T h
h T h
h
T h
h T T T h
h T h
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T h
h
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12
8
10 13 10 13 10 13 10 1412
10 1514 20
13 13 13
13 20 13 20 13 20 14 20
1310 13
13 17
12 12 10
11 15 11 15 11 15 11 15
11
12 15 12 15
10 9
8
h
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h
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cresc
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7 10 7 158 6
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8 12 7 158 6 5
8 15 8 166 107 8 11
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6 9 9 125 8 8 12 12 15
1011
1310 13 10 13
12 15 6 1211 8
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h
h T T T h
hT
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h T h
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h T T h
hT
h
h
T h
h T h
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h T T h
h
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h
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8
6 10 6 10 6 10 6 108
6 11 6 11
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5 11 5 11 6 10 6 108 8
6 11 6 11
59
4
5 11 5 11 65 5
68
86 10 7 138 10
442
14
h
hT
h
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T h
h T h
h T h
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h
cresc
T h
h T h
hT
h
h T h
h T h
h T h
h
T h
h
f
T h
h
T h
h T h
h
dim
T
h
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hh
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8 12 9 1510 12 5 8 7 13
7 108 12 10 13
1010
7 10 8 12
611
9 12 9 12
8 9
12 15 9 12
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10 15 7 10
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8 1210
8 128
7 106 1268
17
h
hT
h
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p
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hcresc
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5 13 5 126 6
5 11 6 106 6
6 9 6 8
p
5 5 66 8 6 8
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cresc
3
5 9 5 9 5 9 5 9
3
7 10 9 12
8 8
20
h
h
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h
h
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10 137 10
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8 8 8
9 12 9 12 9 128 11
811 15 10 138 8
8 11 10 13
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8 11 6 10
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23
h
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5127 11 7 11 7 11 7 11
129 12 11 14
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7 10 9 127 7
10 14 10 147 7
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6 9 6 9 6 9
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26
h
h
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T h
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10 13 12 15
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10 13 10 14
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913
10 16 10 1313 13
443
28
h
hT
h
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f
11 15 11 19
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11 18 11 17
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12 18 12 18 12 18 12 18
10 11
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30
h
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13 17 13 21
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9 15 9 15 9 15 9 1512
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10 158 11
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33
h
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8 12 8 12
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78
10 13 6 10
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13 16 10 13
15 1210 14 10 14
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10 1513 13 17
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36
h
h
f
T
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smorzando
T
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10
10 16 12 1612 15
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10 10
12 16 10 13
10 1013 17 10 1310 10 14 17 11 15
15 15 1514
13 1610 10
11 15 10 1310 10
39
h
h
p T T T
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h T T T h
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8
10
10 13 10 13 10 13 10 18
12
10 17 10 15
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10 13 10 13 10 1313 17
12
11 15 10 13
1013
444
41
h
h T T T h
hT
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h T h
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T h
h T T h
h T h
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T h
h T h
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10
10 13 10 13 10 13 10 13
13
10 13 11 14
1012
11
12 17 12 17 12 16 10 1614
10
13 17 12 15
12 11
43
h
h T T h
h T h
h T h
h T h
hT
h
h T T h
h T h
h
T h
h T h
h
T h
h T h
h T h
h T h
h
T h
h T h
h
T
10
11 14 11 14 10 15 10 1514 13
10 14 10 1512 13 13
14 20 14 20 13 20 14 20
13 13
15 18 13 1617
12
11 15 11 15
13 11
10 18 10 15
1213
10 17 10 14
1012
46
h
hT
h
hT
h
h
T
h
hT
h
h
T
h
h
T
h
h
T
h
h
T
h
h
T
h
hT
h
h
T
h
hT
h
h
p
T h
h T h
h
T h
h
T h
h T T
10 138 12
8 8
10 138 12
8 8
9 127 10
8 8
8 1210 13
8 8
13 17 10 1310 10
12 15 9 1210 10
8 11 8 12
10 8
8 13 8 13
7 6 9
8 10 8 10
49
h
h
T h
h T h
h
T h
h
T h
h T T
h
h
T h
h
T
hh
hh T
h
h
T
h
h T
h
h
T
8 11 8 12
10 8
8 13 8 13
7 6 9
8 10 8 10 8 11 8 15
108
8 11 8 15
108
8 11 8 15
108
51
h
h T T
morendo
h
h T T h
h T T h
h
pp
T T h
hT T
h
h
T
10
8 11 8 11
10
8 11 8 11
10
8 11 8 11
10
8 12 8 12
10
8 12 8 12 8 12
10
445
1 Adagio
Double-handed arrangementbars 1-52
p
Righthand
2
12 12 12 12 12 12
p
Lefthand
7
108
108
10810
810
810
810
810
810
810
810
810
810
810
810
810
810
810
8
8
1013
1013
1013
1013
1013
1013
1012
1012
1012
1012
1012
1012
101510151015101510151015
78
2
simile e sempre legato
R.H.
L.H.
7
15
8
1513
1513
1312
7
1110
108
58 7
1311
1311
1311
1311
5
1412
1412
7 5
4
R.H.
L.H.
5
2018
2018
1917
1617
3
15 20 1514
1 0
7
815
1315
1315
1315
14
7
15 20 1415
8 8 8
1315
1315
1315
1415
8
1513
1312
7 7
446
7
R.H. 3
cresc
L.H.
cresc
5
1110
1110
1110
1110
6
1210
1210
5 3
1715
17
1536 13
15
1715
10
4
1817
1720
3 1
1013
1513
16
1110
713
11
12
119
1412
10 13
10
R.H. f
1
L.H.
f
1312 12
106
6
8
108
108 12
106
7
11 8
3
1110
1110
1110
1110
3
1111
1111
5 4 4
1011
1011
1110
1110
3 3
11 16 11 16
5 4
13
R.H. p
cresc
L.H. p
cresc
4
1011
1011
1110 10
113
3
1110
1213
3 5
1312
1415
5 7
1513 12
137
6
1312
1513
6 10
1210
1312
6 6
1412
1412
8 9
1211
1412
12 9
447
16
f
R.H.
dim
1
p
f
L.H.
dim
p
1011
1210
1011
1312
6
1312
1312 15 6
7
1013
1012
11 1110
1111
10
11 1111
911
8
10 10 1111 13 11 13
1110
810
8
1010
910
911 8
19
cresc
R.H.
cresc
L.H.
815
1415
1415
1415
14
8
1210
1412
8 8
1513
1715
8 8
1817
1817
8 8
1715
1513
8 8 8
1412
1412
1412
1311
811
1010
8
8 8
22
f
R.H. p
cresc
f
L.H.
p
cresc
1311
1513
5 7
1110
1513
8 7
1311
1110 5
58
12
211
1211
1211
211
12 1412
1614
2 2
1715
1917
2 2
2019
2019
2 2
1917
1715
2 2
448
25
R.H.
f
2
L.H. f
2
1614
1614
1614
1513
2
1312
1110
2 2
108
1210
75
1312
1210
6 5
108
109
7 5 5
10 15 10 15 10 15 10 15
4 3
1011
108
3 3
28
f
R.H. f
f
L.H.
f
1110
1114
8 7
1113
1112
6 5
1011
1110
4 3 6
1213
1213
1213
1213
5 6
1213
1210
5 5
1312
1316
10 9
1315
1314
8 7
1213
1312
6 5
31
R.H. f
f
L.H.
f
f
8
1415
1415
1415
1415
7 8
1415
1412
7 7
1514
1514
36
15 2013
11
45
1110
1311
45
1312
1312
6 4
13 1811
10
33
108
1110
33
449
34
R.H. f
f
L.H.
f
f
1110
1110
8 7
1112
108
57
1311
108
57
1514
1514
3 1
10 15
3
1817
3
1817
1816 5
1011
1211 12
11 11 15
5 5
1413
1211
5 51 1
37
R.H. 1
L.H. smorzando
p
1614
1312
5 512
1110
8
5 58
75
3
10 1019
1716
155 5 5
1413
1115
5
1110
108
105 5
15
1715
1715
1715
1720
15
1719
1717
14 11
40
R.H.
L.H.
10
1715
1715
1715
1514
10
1312
1210
8 6 5
1513
1513
1513
1513
8
1513
1614
5 3 6
12 17 12 17 1211
1011
5 5
1312
1210
3 2
450
43
R.H. L.H.
6
1614
1614
15 20 15 20
9 8
1514
15 20
7 8 8
1415
1415
1315
1415
8 8
1513
1311
7 7
1110
1110
8 6
1013
1010
78
1012
109
57
46
R.H. 1
p
L.H. p
1513 13
12
8 815
13 1312
8 8
1412 12
10
8 8
1312
1513
8 8
1312
108
10 1012
109
7
10 108
68
7
5 3
88
88
2 1 4
85
85
49
R.H.
L.H.
86
87
5 3
88
88
2 1 4
85
85
86
810
53
86
810
53
86
810
53
51
R.H. morendo
pp
L.H. pp
5
86
86
5
86
86
5
86
86
5
87
87
5
87
87
87
5
87
451
Caprice VII: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Octaves, thirds, triple-stops and quadruple-stops
Double-handed finger-tapping
Bars 1-50 22-24, 28, 48 FH 17 SH, 18, 19 SH, 20, 21 SH, 34, 49 FH, 50 FH
1-16, 17 FH, 19 FH, 21 FH, 25-27, 29-30, 35-47, 48 SH, 49 SH, 50 SH
16, 25-50
51-77 51 SH, 52 SH, 53-56, 58 SH, 66 SH, 67-69
57 FH, 59 FH, 62-65, 70 SH, 71 SH, 73, 76
51 FH, 52 FH, 57 SH, 58 FH, 59 SH, 60-61, 66 FH, 70 FH, 71 FH, 74-75, 77
51-52, 57-77
Technical overview
‘Caprice VII’ can be broken down into two technical areas. The first, from bars 1 to 16
relies heavily on ΠΠVs. The second, from bar 17 to the end, is a combination of sweep-
picking, ΠΠVs and multi-stopped notes and alternately-picked single note scalic melody.
452
453
1. The plectrum pattern ΠΠV is predominant in the theme. However, for ease of
picking it is often modified to ΠVΠs.
Double-handed arrangement
1. Up to bar 35 the right hand has played the top notes of each passage. However, at
this point, the two hands swap roles with the right hand playing double-stopped
chords allowing the left hand to play the inverted pedal. The voice exchange
continues throughout the modulatory section until the beginning of bar 48.
2. The arrangement of right-handed arpeggios in bars 47-51 has been made in order
to preclude finger-barrés. The reason for this is that the speed required to move
the same finger from one fret to another is less than using two different fingers.
As the frets are closer together higher up the neck, rearranging the notes to make
use of this can be advantageous as in this case. The disadvantage, however, is
that different fingering patterns need to be learnt for the arpeggios.
Technical summary
Within ‘Caprice VII’, much use has been made of ΠΠΠs and ΠΠVs in order to enhance
the characteristic patterns of the theme. Alternate-picking in combination with different
variations remains the predominant technical feature.
VII
f
p
pp
BEADGBE
12
14
12
1415
17
14
16
12
14
11
13
14
16
12
14
12
14
10
12
8
10
12
14
10
12 12
14
14
16
15
1712
15
14
17
15
1812
15
14
17
8
10
8
10
9
1110
12
8
10
7
9
10
12
9
11 11
1312
15
15
17
14
16
12
14
11
13
10
12
8
10
8
f
12
1414
16
10
12
12
14
14
16
11
13
12
14 14
17
14
1717
20
16
19
14
17
13
16
16
19
14
17
14
17
12
15
10
13
14
16
12
14 14
17
16
19
17
20
19
22
21
24
21
24
22
25
24
27
14
16
14
16
15
18
14
17
15
18
15
15
13
14
12
1213
16
12
15
15
14
17
13
14
12
12
10
10
10
9 21
19
810
9
8
10
9 21
19
810
9
8
10
9 21
19
810
9
810 9 7
10 9 710 8 7
10f.b13
1213
151215
151915
1719
221721
222421
2020
24 20 27 24
19
20
15
17
14
16
13
15
12
14
11
13
10
1214 12 10
14 12 1013 12 10
13 1210
1215 10
1415
17 1417
1721 17
1921
24 1924
2427 24
27 24
21
30
17
19
14
16
13
15
12
14
11
13
10
12 10 9 710 9 7
10 8 710
13
15 14 1215 14 12
15 13 1215 13
15 17 1915 17 19
17 18 2017
454
23
10
12 10 912 11 8
12 10 812 10
12 14 1512 14 16
14 15 1713
8
10 9 710 9 7
10 8 710 8
10 12 1310 12 14
12 13 1511
25
f
f
911
911
911
10 12 13
811
11 13 15 1713 15 16
13 14 1511
911
911
911
10 12 13
811
11 13 15 1713 15 16
13 14 1511
27
911
911
911
10 12 13
9
9
9
9
9
910 12 13
8
8
712 10 8
10 9 710 9 7
10
1012
10
13 12 1012 10 9
12 10 912
29
131312
1013
10
913
12
812
10
8
8
7
810
9
13
10
13
12
15
14
1710
13
12
15
31
9
89
1089
8
12 10 810 9 7
10 9 710 8 7 10 8
101312
10
11
1011
121011
10
1415 14 12
15 14 1216 13 12
15 1312
15 12
455
35
simile
1513
12
121012
131212
151312
131213
121114
141214
1199
12109
151314
131215
151315
121010
131110
119
10
141316
119
11
131111
141211
121011
39
109
12
121012
141212
151312
131112
111013
1615
15
111013
1415
13
1415
14
1315
14
1316
15
18
18
17
18
16
17
1316
15
17
16
15
17
15
15
1315
13
10
913
1113
11
13
11
11
14
11
10
12
11
10
44
1114
11
1114
10
1114
13
1213
13
1213
11
11
9
11
11
9
10
11
9
8
1213
12
1113
12
11
9
8
11
9
9
11
911
1211
9
11
911
12
9
9
811
9
98
11
1413
1111 12
11 13111413 11
14 131111
119
11
141316
49
119 13
12 1313
913 11 9
13 11151313
131113
111013
1211 14
13 1414
1114 13 11
14 12161414
141214
121114
51
151414
141214
121014
10 1314
1212 10
1214 15 10
12 8
141212
121012
109
12
119
98
12 1011
139
910
12
456
53
8 1210
109
88
89
1010
1212
12 1514
1412
1212
1414
15 1211
9 1210 13
11 14 1113 10
12 910
8 119 12
10 13 1012 9
11 8
55
97 10
8 119 12 9
11 810 7
9 108 12
1210
910
810
910
12
810
1010
12 8 1212
1211
1212
119
912 9
10 9
1012
14 13
57
10 9 710 9 7
11 8 710 8 7
1312
14
1212
12
1012
10
16
15
14
1311
1011
912
119
912 9
10 9
1012
14 13
59
p
pp
10 9 710 9 7
11 8 710 8 7
1312
14
1212
12
1012
10
16
15
14
1311
1011
912
1013
1011
912
12
10
1213
11
91013
1011
62
f
912
11 9 710 9 7
109
1012 9
1212
161214
161914
1819
211822
2126 22
2426
29
14
16
11
13
10
12
9
11
8
10
7
911 9 7
11 9 710 9 7
10
457
65
97
912 7
1112
14 1114
1418 14
1618
21 1621
2124 21
2424
28
14
16
11
13
10
12
9
11
8
10
7
912 11 9
12 11 912 10 9
12
67
10
12 11 912 11 9
12 10 912 10
129 11 12
10 12 1410 12 14
914 12 11
14 13 1014 12 10
14 12
14 16 1714 16 18
15 16 1815
69
712 11 9
12 11 912 10 9
12 10
129 10 12
9 11 1310 12 13
121010
101012
1315
14
17
15
1517 15 13
15 14 1215 14 12
15
71
121010
101012
1315
14
17
15
1517 15 13
15 1412151412
15 121010
101012
1315
14
16
15
17
16
15
16
16
15
14
1214
1314 1618
14 16 1815 17 19
16
1416
14161819
16 18 2018 19 21
17
74
1012
11
1412
14
16
15
14
12
1114
17
17
16
1214
13
12
16
17
16
19
18
21
19
22
21
24
13
1213
141213
12
16 14 1316 14 12
16 14 1216 14 12
15 14 12 1012
11
10
458
16
Double-handed arrangement
Righthand
bar 16
Left hand
8101417
1014
1115
8101417
1014
1115
25
bars 25-52
R.H.
f
f
L.H.
f
f
911
911
911
15 17 18
81116
13 15 1713 15 16
13 14 15 16
911
911
911
15 17 18
81116
13 15 1713 15 16
13 14 15 16
27
R.H.
L.H.
911
911
911
15 17 18
914
914
914
15 17 18
81317
1619 17 15
19 17 1519 17 15
101215
17 16 1417 15 14
17 15 1417
459
29
R.H.
L.H.
88
2258
15
91317
81215
81317
81014
8
10
13
12
15
14
1710
13
12
15
31
R.H.
L.H.
91314
1513
9
8
16 14 1215 14 12 10 9 7
10 8 7 10 810 8
710
33
R.H. 1
L.H.
11
1011
121011
10
18 15 1417 15 14
17 16 1317 15 13 17 15 12
1513
7
1715
7
1312
7
1513
7
1312
8
460
35
R.H.
simile
L.H.
simile
1211
9
1412
9
1614
9
1715
9
1513
9
1312
10
1513
10
1715
10
1816
10
1816
10
1614
10
1413
11
1614
11
1816
11
1917
11
1715
11
38
R.H.
L.H.
1514
8
1715
8
1917
8
1513
8
1816
8
1615
9
1615
11
1615
9
1415
9
1415
10
1315
10
1316
11
1318
13
1316
13
1316
11
41
R.H.
L.H.
1216
11
1215
11
1315
9
1014
9
1113
7
811
7
911
6
711
6
461
43
R.H.
L.H.
1114
7
1114
6
1114
4
1213
4
1213
6
1114
7
1114
6
1114
4
1213
7
1113
7
69
13
69
14
69
11
769
69
11
1214
9
1316
9
1413
7
47
R.H.
2
L.H.
1413
11 1512
11 13 1114 13 11
14 1311
7
119
7
98
7
119
8 12 13 8 913 11 9
13 111513
8
1311
8
1110
8
49
R.H.
L.H.
1211
9 139
9 11 913 11 9
121614
4
1412
4
1211
4
1514
4
1412
4
1210
4
108
97 12 10
1214 15 10
12 8
462
51
R.H.
L.H.
1412
8
1210
8
109
8
119 14
13
12 1011
13 14 910
12
57
bars 57-77
R.H.
L.H.
15 14 1215 14 12
16 13 1215 13 12 13
1219
121217
101215 6
1014
86
56
47 11
9 14
1213
15 14
1012
14 13
59
R.H.
pp
L.H. p
15 14 1215 14 12
16 13 1215 13 12 13
12
9
1212
7
1012
5
61014
86
56
47
58
56
47 12
151213
1114
1013
1011
463
70
R.H.
L.H.
1715
6
1515
8
1315
10
1215
11 17 15 1315 14 12
15 14 1215
1715
6
1515
8
1315
10
1215
11 17 15 1315 14 12
15 14 1215
72
R.H.
L.H.
1715
6
1515
8
1315
10
1115
8
1115
7
1115
10
1214
9
14 16 1814 16 18
15 17 1916
1416
10
16 18 1916 18 20
18 19 2117
74
R.H.
L.H.
1012
7
1412
10
1115
10
1216
10
1217
7
1214
9
17
14
17
16
19
18
211522
1724
81213
1412
9
12
16 14 1316 14 12
16 14 1216 14 12
15 14 1257
1114
464
Caprice VIII: technical break down, notes and overview
Alternate-picking Finger- picking
techniques
Bar numbers
Straight alternate-picking
Octaves double stops, triple-stops and quadruple-stops
Finger-tapping in combination with hammer-ons and pull-offs
Finger-picking
Double- handed finger- tapping
Bars 1-50 5-6, 28-31 1-4, 7, 17-27, 32 SH, 33 SH, 34 SH, 35 SH, 36, 39 SH, 40 SH, 41 SH, 42 SH, 43, 45-48, 50
8-16, 32 FH, 33 FH, 34 FH, 35 FH, 37-38, 39 FH, 40 FH, 41 FH, 42 FH, 44, 49
7-16, 32-44, 49-50
51-67 55 52-54, 56-58, 60-67
51, 59 51, 56, 57, 59, 66-67
Ossia 32 SH, 33 SH, 34 SH, 35 SH, 39 SH, 40 SH, 41 SH, 42 SH
Technical overview
465
‘Caprice VIII’ provides a different challenge for transcription owing to its extended two-
part writing. The polarization of melody and accompaniment lends itself particularly
well to a double-handed approach with either the right or left hand dominant. This helps
to a certain extent to retain the legato feel of the original violin version.
The principal transcription makes use of the dexterity of the left hand using hammer-ons
and pull-offs whilst the right hand taps out the pedal note. In contrast, the double-handed
arrangement has been orchestrated to rely more heavily on the right hand.
1. From bar 8 to bar 16 the chromatically descending bass note is played in the right
hand whilst the left hand plays the sixteenth notes. It is important when playing
the descending whole note scale with the right hand this far down the fingerboard
to avoid touching the strings that the left hand is striking with either the forearm
or the fingers. To reduce the aforementioned problem the notes are arranged so
that one string is between the notes being tapped by the right and left hands, the
exception being bar 14 where the scalic element in the left hand moves up to the
string immediately adjacent to that being tapped by the right hand.
2. An alteration to the hand functions occurs in bar 15 with the first double stop
played with a left-hand hammer-on (indicated with a L.H); the rest of the bar is
played with right-hand hammer-ons.
3. Bar 32 introduces a new thematic idea which is best approached by dividing the
bar in half. The first half of the bar employs a similar approach to that used in
bars 8 to 16. However, in this instance, the left hand plays the sustained D flat,
466
467
whilst the right hand plays the sixteenth notes. The second half of the bar is
performed with alternately-picked double-stops with the ossia staff offering a
secondary option. Having the ability to change between the two techniques
quickly is largely dependent on the guitarist's ability to change plectrum positions.
In this case moving the plectrum to between the first and second knuckle joints on
the second finger is preferable. Changing between techniques must be seamless
with the only discerning aural change being that of string tone.
4. From the technical viewpoint bar 59 stands out as a rhythmic motif that appears in
isolation in ‘Caprice VIII’. Unlike bar 32 and its subsequent bars, bar 59 is more
easily executed with both hands functioning independently. The arrangement of
the notes sees both hands retain their autonomy whilst transition into and out of
the bar remains as uncomplicated as possible.
Technical summary
The technical analysis of ‘Caprice VIII’ can be broken into two sections: the first from
bars 1-7, 17-31 and 60-67, which are variations on alternate-picking; the second is a
combination of finger-tapping, hammer-ons and pull-offs.
Maestoso VIII.
ff
BEADGBE
11
13
7
9
8
10
6
8
5
7
9
11
8
10
5
p
p
f
9
13 15 1713 15 17
13 15 1715 16 18
15 16 18
8
18 20 2218 20 22
19 20 2220 21 23
20 22 23
911
10
9
1113
12
11
8
R.H
dolce
h
1
h h p p h h p p h h p p h h p
R.Hh h h p p h h p p h h p p h h p
8
6 8 10 8 6 8 10 8 6 8 10 8 6 8 10 6
7
8 10 11 10 8 10 11 10 8 10 11 10 8 10 11 8
10
R.Hh h h p p h h p p h h p p h h p
R.H hh h p p h h p p h h p p h h p
R.H
h h h p p
h h p
R.H
h
p p h h
p p p
6
10 11 13 11 10 11 13 11 10 11 13 11 10 11 13 10
5
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11 5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8
13
R.H
h h h p p
h h p
R.H
h
h p p h
p h p
R.H h
h h p p h h p h p ph p h p p
L.H
2
h hh h
h h h
h h h h h h h h
5
10 12 13 12
6
10 12 13 10 12 1013 12 13 12 10 8 7
11 13 14 13 11 13 14 13 14 13 1115
10
8
11 13 1511 13 15
12 13 1512 13 15
12 14 15
1214 13 11
468
16
R.H
hh h p p h h p h p p
h p h p p
10
13 15 16 15 13 15 16 15 16 15 1317 14
16 15 13 1215
1519
1014
1317
812
1215
710
1014
58
812
812
1215
610
1013
58
812
68 13 10 8
78 11 10 8
88 12 10 8
87 13 10 7
19
f
65
87
108
1210 8
81010
1211
1413
1515
1413
1211
1110
1211
1110
1211
1110
1413
1211
1110
1211
1010
88
76
108
87
108
119
1210
1210
108
87
75
21
pp
87
65
86
108 6
587
108
1210
1312
1210
108
97
108
97
108
97
1210
108
97
108
87
65
108
86
65
86
97
108
108
86
65
56
23
f
86
65
8
11
9
7
5
8
8
6
7
5
11
8
9
11
28
p
p
21
18 20 22182022
2021 2320 21
16
18202218 20 22
1920222021 23
20 22 23
18
15171815 17 19
17182016 18 20 22 24 2523 25 27 28
469
31
f
L.H
h
3
h h p p h h p
p
Finger-picking1
3
p 12 2
121
21 2
121
21
13
15 17 1915 17 19
16 17 1917 18 20
17 19 20
6
9 11 13 11 9 11 13 11 9
1186
75
86
98
86
119
98
33
f
L.H
h
h h p p h h p
p
f
L.H
h
h h p p h h p
p
F.P 3
1
p
21 1
212 2
1 2
1 12
12
31
p21 2
121 1 2 2
1 21 2
1
9
11 13 15 13 11 13 15 13 11
13108
97
108
1110
108
86
65
4
6 8 9 8 6 8 9 811
8
98
87
98
119
98
86
64
35
f
L.H
h
h h p p h h p
p
F.P31
p
21 2
121
21
21 1
212
11
85 7 5
85 7 5
8
1176
65
76
87
76
108
87 8
776
87
76
87
76
87
66
98
86
98
86
98
86 8
0
8
37
L.H
h
decresc
p h h p
p h ph p h h p p h p
L.H
h p h h p
p h p
L.H
h
p h h p p h p
f
L.H
h h h p p h h p
p
Finger-picking 31 p1
2
12 1
2 12
12
12
12
1114131416
614131413
13111314 101311131113 121314 9131213
1616 1515 17161516
19
9
12 141614121416147
9
119
108
119
1211
119
1412
1211
40
f
L.H
h
h h p p h h pp
f
L.H
h
h h p p h h p
p
f
L.H
h
h h p p h h p
p
F.P 1
3
p12
12
12 1
212
12
12
1
3
p 12
12
12 1
212
12
12 1
3
p
12
12 1
2 12
12
12
12
7
9 111311 9 111311 9
12
1311
1210
1311
1413
1311
1614
1413
7
9 11 1211 9 111211 9
1176
65
76
97
76
119
97
9
11 13 15131113151311
14109
88
109
1110
109
1311
1110
470
43
L.H
h p h h p
h h p
L.H
h p h h p p h p
1110
109
1110
109
1110
109
1110
99
87
66
87
66 7
87
66
8 69
12111214121112115
11 9 11 1211 9 11 9 811 1211 9
1412
1314 12 11
9 10 9 7
1210
1112 10
46
912 1312 10
108
910 8 710 1210 8
86
7 8 6 58108 6
65
5 6 5 36
66
55
9
88 5
68 6
586
108
86
65
65
76
108
87
75
108
87
65
108
86
65
49
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
p p p
101113 1413
6
10 13 12 11 1011131413
665
86
108
86
65
1412
1513
1311
1110
1413
1211
1010
10 13 11 10
71312
1210
108
1312
8 10 11104
7 10 9 8 78 101110
4
7 10 8 7
52
cresc
f
87
65
108
97
86
65
108
97
86
65 8
675
119
108 8
675
119
108
76
108
87 7
6109
88
76
108
87
65
108
86
65
108
11
8
7
4
471
55
f
pp
L.H
h
h h p p h h p p h h p p h h p
8
5 7 86 8 10 12
8 10 11 13 15 17 19 20
911
10
9
1113
12
114
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
58
cresc
4
f
hh p
h
h p
h
h p
h
h p
right hand
left handh p
h
p
h
p
h
p
5
7 16
19
13
16
58
11 16 11
8 513 18 13
11 8
11 15 11
6 313 17 13
9 6
811
1312 10
91211
1313 11
101311
1513
1615
1513
1311
1210
1311
1210
1311
1210
61
p
1513
1311
1210
1311
1110
1313
1211
109
88
109
1110
1211
1211
109
1312
1210 12
11
1110
1311
151311
101312
151312
101312
1210
1513
1412
1513
1412
1513
1412 12
10
1513
1412
1513
1312
1110
1513
1311
1110
1311
1412
1513
1513
1311
1110
108
64
pp
f
65
68
8
611108
68
7
8
6
8
472
7
Double-handed arrangementbars 7-16
Righthand
f
dolce
Left hand
f
dolce
46
1013
68
1215 8
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11
7
13 15 16 15 13 15 16 15 13 15 16 15 13 15 16 13
10
R.H.
L.H.
6
10 11 13 11 10 11 13 11 10 11 13 11 10 11 13 10
5
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11 5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8
13
R.H.
L.H.
5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8 7
11 13 14 13 11 13 14 13 14 13 1115 12
14 13 11
473
15
R.H.
L.H.
58
11 13 1511 13 15
12 13 1512 13
10
1512 14 15
13 15 16 15 13 15 16 15 16 15 1317 14
16 15 13
32
bars 32-44
R.H. p
f
p
L.H.
f
6
9 11 13 11 9 11 13 11 9
6
1311
1210
1311
1413
1311
119
98
9
11 13 15 13 11 13 15 13 11
9
1513
1412
1513
1615
1513
1311
1110
34
R.H.f
p
f
p
L.H.f
f
8
11 13 14 13 11 13 14 13 11
8
1413
1312
1413
1614
1413
1311
119
11
13 15 17 15 13 15 17 15 13
11
1715
1614
1715
1816
1715
1513
1312
474
36
R.H.
decresc
L.H. decresc
1311
1210
1311
1210
1311
1210
1311
1110
1413
1311
1413
1311
1413
111311
14 1314 13 14 16
614 13 14 13
13 11 13 14 13 11 13 11
8
38
R.H.
f
p
L.H. f
1013 12 13 14 913 12 13 11
16 15 16 17 16 15 1619
9
12 14 16 14 12 14 16 147
14
1614
1513
1614
1716
1614
1412
1211
40
R.H.
f
p
f
p
f
p
L.H.f
f
f
7
9 111311 911131114
7
1311
1210
1311
1413
1311
1614
1413
7
9 11 1211 9111211 9
7
1211
1110
1211
1412
1211
1614
1412
9
11 13 15131113151311
9
109
88
109
1110
109
1311
1110
43
R.H.
L.H.
1614
1513
1614
1513
1614
1513
1614
1413
1311
1110
1311
1110 11
1311
1110
136
912 11 12 14 12 11 12 11 9
16 14 16 17 16 14 16 14
475
49bars 49-51
R.H.
L.H.
011 13 14 13
6
10 13 12 11
011 13 14 13
6
1110
1311
1513
1311
1110
1412
1513
1311
1110
1413
1211
1010
1312
1210
108
1312
10 13 11 10
51
R.H. 1
L.H.
213 15 16 15
4
12 15 14 13
213 15 16 15
4
12 15 13 12
56
R.H.f
bar 56-57
pp
bar 59
L.H.
f
9111518
11131720
pp
4
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 911
1111
8 513
1313
68
1110
11
68
9 6
1312
13
476
66
R.H.f
bar 66-67
L.H.f
1110
3
1113
3
811
4
477
Caprice IX: technical break down, notes and overview
Alternate-picking Sweep-picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes
Combination of double-stops, triple-stops and single note
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 1-50 18-38 51-100 58, 62-69,
74, 78-84 50-56, 57, 59-61, 72, 73, 75-77, 98-100
70, 71, 85-97
101-115 101-115
Ossia 18-38 18-38
Technical overview
478
From a technical perspective, ‘Caprice IX’ is divided into two sections, the first of which
is a theme and variation utilizing double and triple-stops and the second consisting
mostly of single-note melody.
The double and triple-stopped theme is built around a repetitive rhythmic figure
consisting of an eighth note followed by two sixteenth notes; this figure continues until
bar 61 with minimal alteration. In the original score the two sixteenth notes are played
on the same bow stroke. The original bowing pattern is best replicated using two Πs
followed by an V.
1. As in ‘Caprice XIX’ there are bracketed tablature notes which offer different
options for playing intervals of a sixth. Although the bracketed option provides a
smaller physical stretch the problem of dampening the string between the two
notes arises: bar 46 contains two such examples.
2. The same ΠΠV pattern is used in the triple and quadruple-stopped chords that
begin in bar 19. The V has the plectrum moving towards the lowest note of the
chord in the next bar. The two sixteenth notes in tablature are arranged to
minimize the distance the plectrum has to travel.
3. Bar 23 sees the introduction of four-note chords. As the rhythmic pattern remains
constant these chords are played using a Π and are easier to play when
arpeggiated.
479
480
Double-handed arrangement
Wherever possible, the right hand has taken the upper melodic voice with the left
hand tapping out the remaining harmonic material. This idea is only altered when the
stretches become physically impractical.
1. Although the strings that the notes appear on are in close physical proximity
to one another, the distance between the two hands on a linear scale can be
relatively large, as in bar 22.
Technical summary
Alternate-picking dominates this caprice especially in the sections of double, triple, and
quadruple-stopping. In the more single-note orientated melody sweep-picking and
alternate-picking and their combinations are more commonplace.
Allegretto IX
dolce
BEADGBE
1312
1110
99
99
911
69 13
121110 5
99
99
911
569
69
911 9
9
911 9
91110
911 11
10
5
1312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911 9
91110
99
911 9
9
911
9
f
569 7
912
76
79 7
697
119
1211
119
97
76
97 7
79
912
76
79 7
697
119
1211
119
13
p
f
p
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911 9
91110
99
911 9
9
911
481
17
f
2
3
Chicken-picking
P
32
P
32
P
32
P
32
P
3
2P
3
2
P
3
2P
32
P
32
4
P
23 4
32
P
4
32P
Finger-picking 1
T
21
1 2 21T
1 2 2
1T
1 2
T
21
112
T
1 2 2
1T
1 2
T
21
T
21
21T
3 1 2
T
12 1 2
T
12
3 1 2
T123 1 2
569
12
1214
121412
11
9
1012 11
1214
1216 14
13
10
1216 14
710
811 9
6
5
58
5
710
8
79
7
3
04
37 8
10
12
1012 14
8
57
710 12
810
9
8 10 12
7
25
25
25
F.P
P
32
P
32
P234
P
P23 3
2P
32P
C.P
T12 1 2 2
1
T
1
221T
3
1 21T
1 2
T12
1 2
T12
1 2 1 2
10
9
8 10 12
10
10
1010
11
810
9
8 12
11
9
1012 11
79
811 9
79
89 10 9
12
29
29
29
F.P
32P
32P
3
2P
3
2P
32P
3
2P
3
2P
C.P
T12 1 2
T12
1 2
T12
1 2 1
2
T1
2 1 2
T12
1 2
T1
2 1 2
T12
1 2
11
9
1012 11
79
811 9
11
9
1215
13 12 12
11
9
1215 12
1214
1316 14
14
12
1517 14
1012
1214 12
482
33
33
33
F.P
32P P
32
3
2P
3
2P
32P
3
2P
32P
32P
C.P
T1
2 1 2
T12
1 2
T1
2 1 2
T12
1 2
T1
2 1 2
T
12
1 2
T12
1 2
T12
1 2
12
10
1316 12
910
1012 11
11
9
1214 11
79
811 9
810
811 9
6
5
811 9
79
8 9 11
8
5
5 7 8
37
37
37
p dolce
F.P 3
2P
32P
C.P
T12
1 2
T
12
1 2
T
1
58
5
56
7
45 7
8
7
9 1312
1110 5
99
99
911
69 13
121110
40
599
99
911
569
69
911 9
9
911 9
91110
911 11
101312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911
483
45
1
f
99
1110
99 5
911 9
9
911
69 7
912
76
79 7
697
119
1211
119
97
76
97
79
9
7 76
49
p
f
p
79 7
697 6
476
64
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911
53
f
99
1110
99 5
911 9
9
911
69
7
97
10
7
9
57
8
10
5
7 7 95 7 9
7 9 10
9 10 129 11 13
10 13 12 10 9
5
7
8
10
5
7
484
61
7
9
4
614 15 17
14 16 1814 16 17
15 17 1916 17 19 22 20 19 17
1717
12 10 912 10
17 15 1317
65
13
17 15 1317 15
1315
10 8 710 8
15 13 1215
12
15 13 1215 13
1215
17 15 1417 16
15
69
13
14 12 1014 12 15 14 12
15 1312 10 8
12 11
1314
15 13 14 1414
1614
1715
1715
17
15
17
73
12
14
13
15 15 17 1915 17 19
16 17 1917 18 20
17 19 20 24 22 20 19
15
1713
15
15
17
77
12
14
8
10 14 15 1714 15 17
14 16 1715 17 18
15 17 19 25 24 22 20
17
15 13 1215 13
1312 15 12
17
485
81
13
15 13 1215 13
1315
17 15 1417 15
1514 17 14 15
17 15 1417 15
1517
14 12 1114 12
1716 19 16
85
17
14 12 1014 12
910
12 10 8
1817 20 17
18
1515
17 13 12
1717 20 17
17
1415
1717 16
1617 20 17
16
1315
17 14
89
17
1715 19 15
17
1415
17 15 13
1412 17 12
14 1010
1213 12
1412 16 12
1414
1517 12 11
1412 15 12
1413
1517 14
93
12
f.b
20
1919
2021
10 12 1011
59
89 7
10 109
10 8 98
87
89
12 14 1214 12 12
1012 10 8 8
78 6
486
97
p
dolce
6
72 6
44
42 7
1312
1110 5
99
99
911
69 13
121110 5
99
99
87 5
69
69
911
101
99
911 9
91110
911 11
101312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911
105
f
99
1110
99 5
911 9
9
911
69 7
912
76
79 7
697
119
1211
119
97
76
97 7
79
912
76
109
p
f
p
79 7
697
119
1211
119
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911
113
99
1110
99 5
911 9
9
911
69
59
111413
911
5 569
69
69
487
19
Double-handed arrangementbars 19-37
Righthand
1
Lefthand
79
16 14 12
69
14 12 11
79
12 1114
81017 16 14
71017 16 14
61014 13 14
71017
79
16
359
12 11 12
51214 12 14
12
24
R.H
L.H
8
101216 14 16
8101417
15 17
101417
14 16
101519
1916
8101417
16
111419 17 16
79
12 1114
79
1314 15 14
16
29
R.H
L.H
111419 17 16
79
12 1114
1114
16 15 17 16 16
1114
17 1516
121417 16 14
912
1517 14
101216 14 12
33
R.H
L.H
710
13 1212
91014 12 11
69
16 1416
79
12 1114
81017 16 14
610
1216 14
79
13 14 16
81014 16 17
58
1014 10
7
99 11 8
488
Caprice X: technical break down, notes and overview
Alternate-picking Sweep- picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes
Combination of hammer-ons and pull-offs and alternate-picking
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 7, 12, 15-16, 20, 22-23, 27, 32, 34, 37-43, 45, 47-50
1-6, 8-11, 13-14
17-19, 21, 24-26, 28-31,33, 35-36, 44, 46
37-42, 47-50
51-76 57, 59-62, 69-77
51-56, 58, 63-68
73-76
Ossia 37-42, 47-50 37-42, 47-50
Technical overview
Although providing a technical workout of alternate-picking, string-skipping, hammer-
ons, pull-offs and sweep-picking, ‘Caprice X’ can be broken into two dominant
techniques, each working symbiotically with a complimentary technique. The first of
489
these is the combination of alternate-picking with hammer-ons and pull-offs and the
second, a combination of alternate-picking and sweep-picking.
1. In bar 1, the appoggiatura starts with a Π followed by a hammer-on and ΠΠΠs.
Although on first examination this method does not seem to use the most efficient
plectrum motion, it does help to reinforce the rhythmic idea.
2. Within the sequential writing of bars 5 and 6, three techniques are combined for
the maximum efficiency. The first two notes are sweep-picked, the next two are a
pull-off and hammer-on with the subsequent three being alternately-picked
starting with an V. Not only do these techniques combine extremely effectively
for “neighbour” note patterns, but they also retain a similar sound and feel to the
original bowing strokes that tie the neighbour notes together.
3. In beat two of bar 6, the plectrum pattern is a slightly altered form of that
encountered in bar 5. Instead of beginning with an V on the fourth note a Π is
used. This facilitates correct plectrum motion by the time bar 7 has been reached.
4. Bar 25 sees the introduction of string-skipping sweep-picking in order to
overcome the large intervallic leaps, especially those found at the end of bar 25.
The plectrum solution allows pick motion to be at its most efficient when the
large seven-string leaps occur. These are made more difficult by appearing in the
space of four sixteenth notes. The plectrum solution also has the benefit of
striking all the strong beats with a Π, which in turn allows the trills to retain
uniformity of tone.
5. Within bars 25 and 26, the recurring neighbour note idea is often played with
hammer-ons. However, a combination of alternate-picking and sweep-picking
can be more effective in certain situations in retaining a consistent tone when
executing larger leaps. When the subsequent note/notes require larger stretches or
490
491
the plectrum needs to jump over many strings, the quality of tone and duration of
the notes can suffer by using hammer-ons and pull-offs.
6. Bars 28-31 start with alternately-picked neighbour note sequences and end with a
sweep-picked arpeggio. To move from one bar to the next, the last note and the
first note of the subsequent bar are both sweep-picked Πs. Bars 28-31 exhibit the
same choice of strings and plectrum strokes with pitch alteration the only
difference.
7. The ossia staff clearly shows the preparation idea, which allows time for the pick
to move to the second knuckle of the second finger, whilst the fingerboard hand is
executing the hammer-ons and pull-offs.
8. The finger-picking version of the ossia staff beginning in bar 37 shows a
bracketed finger number which indicates where the initial vibration for the
hammer-ons and pull-offs needs to occur. The vibration in question can be
initiated with either a left-hand hammer-on or with the first finger plucking the
string.
9. The plectrum motion is reversed towards the end of bar 56 so that the beginning
of bar 57 can start with an V. This V allows the G and its lower octave to be
reached more easily; a similar idea occurs at the beginning of bar 59.
10. Reversing the plectrum motion again occurs at the end of bar 61, this time to
facilitate picking that arises in bar 62 and 63.
Technical summary
Whether combined with hammer-ons and pull-offs or sweep-picking, alternate-picking is
the dominant technique that arises in ‘Caprice X’.
Vivace
X
10fr
1
fmartellato
h
p h
10fr
h
p
BEADGBE
810
812
10 11 10 810 8 7
10 8 710 9 10
8 10 118
810
812
10
10 9 10 811 10
11 10 810 8 7
10 8 710 9
4
h
2
p h
p h
p h
p h
3
10
8 10 118
810 9 10 8
11 108
10 9 10 811 10
810 9 10 8 7
108
10 9 10 8 710
11 10 11 10 912
7
p h
ph
10fr
h
11
9
10
8
9
7
8
7
7
5
6
4 5 4 54 7
7
810
812
10
5 6 58 6 5
11 10 810 8 7
10 8 710 9
10
10fr
h
10
8 10 118
810
812
10
10 9 10 811 10
11 10 810 8
.
710 8 7
10 9 10
8 10 118 10 9 10 8
11 10
13
p h
p h
p h
p h
88
10 9 10 811 10
810 9 10 8 7
108
10 9 10 8 710
11 10 11 10 912 11
9
10
8
9
7
..
8
7
7
5
6
4
492
16
10
8
9
7
8
6
7
5
11 810
11 10 11
810
11 10 11
810
11 108
9 8
11 1210
11 10
13 1412
13 11
15 1715
16 15
13
20
p
12
15
15
18
13
17
11
15
14
18
17
21
8
10
10 11 8f.b
11 10 11
11 10 9 811
88
12 1110 910
9 811 10 910
12 11 10 812
812 11 9
24
cresc
5
10
11 89
11 88
10
11
13
8
10
11 10 11
11 10
10 11 10 11
14 13
10 11 10 11
11 10
10 11 10 1114 13
10 11 10 11
28
f
6
.
13 12 13
13 10
13 1012
13 1113 10 f.b
12 11 12
15 11
15
f.b
1213
1315 11
11
10 9 10
10 7
10 79
10 810 7
8 7 8
11 8
12
f.bf.b
.
810
1011 8
8
493
32
7
Finger-pickingh p p
9 8 9
810
9
11 10 11
1113
14f.b
8
11 88
11 810 11
8
811 9
f.b f.b
11 1011
1313
13
f.b15 1415
1415
15
f.b12
12 911
13101213
13
141312
37
f
8
11fr
7fr
9fr
7fr
6fr
8fr
F.P
f
T1
3
2
11
p h p p
h p
h p pT1
32
1
h p p 1
h ph p p
T
32
1p h p
T
32
1p
h p 3
2T
1p hh pp
3
T2
1
p h p
Chicken-picking
f
P2
44
33
P2
43
P
32
P
32
3
2P
3
P2
1416
15
18 16 1417 15 13
14111413 11
014
13
13 101110 8
11
13111413 11
911
11 9 710 8
8
712 11 9
1110
1113
1110 811 9
9
8
9 7 58 6
41
7fr
7fr
p
F.PT
3
12
1p
h p p h p p h p 3
T12
1p h p p
h p p h p
C.PP
4
23
P
4
2
3
. .
79
8
11 9 711 9 7
9 8 69 8
911
9
12 11 911 9 8
11 9 711 9
12 11 12
1213
12
9 8 9
1011
11
6
10 78
79
.
6 7
9
9 7 6
494
45
f
5fr
12fr
Finger-picking
f
3
T
21
1p
h p p h p h p p T
1
2 1p h p p
h p h p p
Chicken-picking
f
4
32P
32
P
9 8 9
99
9
11 1011
1011
11
8
8 57
9 68 9
9
10 9 71012
11
14 12 101311 9
12 91211 9
13
12
15 14 12141311
11 91211 9
49
10fr 8fr
7fr
7fr
p
F.PT
21
1
ph p
T
2
11
p h p
2
T1
1
p h p
2
T1
1p h p
C.P
P
32
P
32
P
32
P
32
1012
11 9 711 9
14
13
12 11 912 11
1214
12 10 912 10
10
9
912 10 9
1215 14 15
1214
15 13 12 13
1214
13 12 10 12
1010
12 11 10 11
1110
11
53
cresc
3fr
f
9
.
10 9 10
1212
10 9 8 9
9
109 8
11 8
810
10 7
11 8
810
911
11 810
11 8
810
8
8 10
10129
1113 10
11 1012 10 8
.
121081210 9
495
57
9
3fr
9
5
85 6 8
810
8
8 10
10 9 10 8 6 5
11 101210 8
12 10 81210 9
5
85 6 8
810 9 10 8 6
108
10 9 10 8 610
10 9 10 8 710
61
10
88
10 910 8 710
11 10 11 10 9 811
9
10
8
9
7
8
7
7
5
6
410
8
9
7
8
6
7
5
11 810
118 10
11 107 8 10
11 10
10
65
8 10
811
1210 12
10 8
8
161518
1817 20
2120 23 20
21
1513 16
141215
1412 15 18
14
0
15 14 13 1215 1412 11
1210 7
69
p
cresc
.
10 9 10 9 8 711101110 8
11 10 8 10 118 9
81010 9 10 9 8
10
12 111211 10 91312131210
13 12 11121310 11
.
12111211 1012
496
73
f
10fr
12fr
10fr12fr
10fr
12fr10fr
12fr
810
812 11 12
10
12
11
10
10
10
1012
11
10 9 1010 8
10 810
812 11 12
10
12
11
10
10
10
1012
11
10 9 1010 8
10
75
10fr12fr
10fr12fr
10fr
12fr
10fr 12fr3fr
810
8
8 7 8
10
12
11
10
10
10
1012
11
810
8
8 7 8
10
12
11
10
10
10
1012
11
810
8
8
497
37
Double-handed arrangementbars 37-42
Righthand
f
Lefthand
f
91115
18 16 1417 15 13
9 69 8
1159
1317 14
16 15 1316 8 6
9 8 69
1115 13
16 15 138
1216 15 13
16 15
40
R.H
L.H
111316 15 13
16 14
. .
91318 16 14
18 1679
13
16 14 1215 13
79 8 6
9 8
91114
16 15 1316 14 13
16 14 1216 14
47
bars 47-50
R.H
f
L.H
f
57
11
14 12 1013 11 9
12 912 11 9 8
715 14 12
14 13 11 6 47 6 4
101216 14 12
16 149
1317 16 14
17 16
121417 15 14
17 151014
14 12 1014 12
498
73
bars 73-77
R.H
L.H
8101317 16 17
10
1215
10
1014
1012
11
10 9 1010 8
10 8101317 16 17
10
1215
10
1014
1012
11
.
10 9 1010 8
10
.
8101317 16 17
10
1215
10
1014
1012
11
8101317 16 17
10
1215
10
1014
1012
11
8101317
.
499
Caprice XI: technical break down, notes and overview
Alternate-picking Sweep- picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes, double-stops, triple-stops and quadruple-stops
Combination of hammer-ons and pull-offs and alternate-picking
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 1-3, 7-11, 15-28, 35
4-6, 12-14, 29-34, 36-50 1-28
51-100 57, 59, 74, 77, 80-84, 93-100
51-56, 58, 60-73, 75-76, 78-79, 85-92
93-100
100-105 101-105 101-105
Ossia 1-28, 93-105
1-28, 93-105
Technical overview
500
501
A wide range of techniques can be used effectively in ‘Caprice XI’. This transcription,
however, offers four technical solutions. In the chicken-picking ossia staff both the
plectrum strokes and finger picking solutions are valid within this context.
1. Arpeggiation of notes makes the larger intervals in the chords easier to play. This
is especially so in the andante section: a good example of this is the first chord of
bar 7.
Double handed arrangement
1. Within bars 15-17 the hands not only switch parts but also interchange positions
on the neck. This can be extremely confusing as it requires the right hand to
perform string-skipping relatively quickly.
2. In contrast, bars 19-25 return to a more “ordered” approach revealing the
harmonic underpinning of the caprice. This section requires the harmonic support
to be performed by the left hand and the melody by the right, a concept which is
mirrored in bars 93-105.
3. In bars 99-100 the functions of the hands change with the melody now assigned to
the left hand and the harmony to the right.
Technical summary
Although alternate-picking is the dominant technique in ‘Caprice XI’, the ossia staves
and the double-handed finger-tapping additions take up nearly half of the caprice.
XIAndanteAndante
h
h h
Chicken-picking
P23
P23
2 3 2
P
3 2
2
P
3 2P23 P
32
2 3 2 3
P
32
2
h
3
P
h h
2
Finger-picking
1
T
2 1T
21 2 1
1T
2 1
1T
2 1T
2 1T
21 2 1 2 2
1T
1 h
1
h h2
T
BEADGBE
710
8
10
9
810
12 1012 10 10 9
7
67
57
5
9
910 12 10
8
109 10
912 9
7
8
7 88
5
h h h
hh
5
h h h
hh
1
C.P
P23
4 2 3 2
h h h
P2 3
hh
2P
34
2 3 2 32
5
h h h
P23 h h 4
32P
2
3 2
3
2
334 P2
F.P12
3
T
2 1 2
h h h
1T 2
hh 3
1T
21
2 1 21
5
h h h
1T 2
hh 321T
1
2
1
2 1
2 321T
8
7
5
812 10
12
8
7 8 109
7 88
8
7
5
8
1212 11
14 13
8
7 8 109
7 88
911
10
13 11 913 12
810
912 11
8
9
h h h
h h
C.PP
32
P
32
2 3 2 32P
P2
P
32
P
32 P
32
P
32
P
32
P
32
P
32
2 h h h 3
P2
h h
F.PT
21
21T
1 2 1 2
1T
T
2
11 2 1 2
1T
21T
21T
21T
21T
2
1T
2
T
1
h h h
1T
2h h
68
8
58
8
5
69 8 6
8
6
5
8 68 7
46
5
5
3
4
68
7
7
5
6
6
8
8
68
7
78 8 7
7 8 10 8 7 8
910
502
13
h h h
h h
5
h h h
h h
C.P 3
P2
2 3 2
h h h
23
P
h h
3
P2
2
3 2 3 2
5
h h h 32P
h h32P
2 3
3
2P
2 3 3
2P
2 3 3
P
2 2 3
32P
2 3 32P
2
3
F.P
T
21
1 2 1 h h h
T12
h h
2
T1
1
2 1 2 1
5
h h h 21T
h h2
T1
1 2
21T
1 2 2
1T
1 2
T1
21 2
T1
2
1 2
T
21
1
2
8
6
8 7 58 7 8 10 8 7 8
910
8
6
88
7 6 59
910
7 8 10 9 7 9
8
6
5 7 8
9
8
8 7 5
9
910 9 10
8
109
9 8
1089
9 8
111010
1213
17
C.P 32P
2 323
P
2 3 3
P2
2 3
3
P2
3
P2
2 3 2 3
P2
3
P2
F.P 21T
1 2 21T
1 2
T21
1
2
1 2 1 2 1 2 1 2 1 2 1
T12
T1
21 2 1 2
1T
1 21T
866
910
655
88
1089
67
7
55 7 8
4 5 6 7 85 6 7 8
10
9
8
5
12 1012 10
6 5
7
67
21
C.P 3
P2 3
P2
32
P
2P
3 3
2P
2 3 3
P2
2 32P
3 2 3
P
32
2 3
23
P
2 3
P23
2 3
F.P 21T
21T
1 2 1
2 21
T
1 2
1T
2
1T
1 2 2
1T
1 2
T12
1 2
T12
1 2
T12
1 2
T12
1 2
57
5
9
910 12 10
3
59 10
57
89
8
710
810
88 7
912
10 12 13
1012
1010 8
1114
12 13 15
1214
1212 10
13 15 17
503
25
C.P P
3 22 3
2
P
2
P23
232P
32P
2P3 2
P3 2
P3 P
23 3
2P
32P
32P
32P
P23
P23
P234
F.P
21T
1
T12
1
T12 1
T
21
T12
T12 T
12 T12
T12 T
12 T
12 T
12
T12
T12
T12
T123
16
15
15
14
1819
15
12
1517
13 12
87
5
108
10755
875
675
109
10
10108
878
887
9
8
7
8
7
5
810
9
87
55
Presto
29
p
3 3
1312
1415
12 11 14 1215 12 10 5
78
87 8
75 9 10
10
12
10 1210
13
12 1412
1312 15 12
15
1012 8
33
6
1212 10
1212
12 1312 10 9 7
910
108
75
5 9 107
10
13
129
10
15
9 10 1212 15
15 13 12
1012
13
504
37
12
10 9
10 8
12 11
12 10
8 7
8 6
5 4
5
5 87
76
5
6
8 5
8
7 119
99
7 1213
1414
15 12
41
19 2321
2121
19 24 2022
2122
24
2121
19 24 1921
12
2121
23 1919
21 17
1717
15 2020 17
17
1517 13
45
13 1715
1514
1313 17 20 25
1918
1717
1718
19
1214 10
10 1312
1210
1010 13 17 22
11 1513
1313
1213
1012
13
49
6
66 6
1213
15 1214
1214 11
13 10 8 1110
1010
13 1012
13 1013
13 1012
13
1012
13 1113 11
1213
1315 11 10
1012
1413 10
505
53
13
131010
1212 11
11 810
911 9
810
9 8
1011 9
8 11 9
810
9 8
1012
13 8 11 9
1010
911
911
13 9 13
57
9
13 10
9
8
1010
8
6
66
6 5
9 68 5 8 6
68
6
8
69 6
9
1111
13
10
910
12
61
11
11 89
11
911 8
7 119
98
77 11 14 19
108
6 97
5 87
5 8
6 98
86
66 9 13 18
65
p
86
4 75
3 65
3 6
9 1311
11
9
1013
1413
13
11
11 1011
1010
13
13 1113
1111
14
10 8
9 68
11
1110
8
11
11
506
69
108
1011
1613
1316
13
14 13
1110
14
11
13 1111
1114
11
13 11
10 13
13
9
11 1010
1013
10
11 9
1113 11 9
1514
14 18
14
73
12
1113
1212
14 1112
1113 11
1213
16
14
1211
11
12
12 912
11
14 1110
1113
13
1314
14
12
15 1213
1214
77
10
911
10
10
910
10
8
11 89
10 8 7
8
8
10
9
12 911
12 10 8
10
10
10
8
8
10
10
11
12
12
10
81
8
9
9
12
10
10
12
15
13
14
12
14
11
14
12
12
9
12
10
10
7
10
8
8
7
7
6
6
5
5
4
7
507
85
8
1212 9
1010 7
12
8
12
8 1110
108
88 11
9
11
10
15 1012
1212 9
15
15
19
1513
1213 16
15 20 23
21
23
89
17
22 1920
1921
17
191515
1617
19
2019
2122
2220
1921
222219
15121615
101410
12
1110
1014
814
10 121410 1112 13
9 10 11
Tempo I
93
f
Chicken-picking
32P
P
3
22 3 2
P
32
2
32P
P23 3 2
P
2 3 2 3
P
32
2
32P
Finger-picking
21T
T
2
11 2 1
T
21
1T
21 T
12 1
2
T
1 2 1 2 21
T
1 21T
710
8
10
9
810
12 1012 10 10 9
7
67
57
5
9
910 12 10
8
109 10
9 7
89
12
508
97
C.PP
32
2 3 2 3
32P
2 3 32P
2 3
32P
2 3
P
32
2 3 3
2P
2 3
2P
2 3
2P
2
P
32
P
32
P
32 3
2 P 32P 3
P 2 P
32
F.P21T
1 2 2
1T
1 2 21T
1 2 21T
1 2 21T
1 2
21T
1 2 2
1T
1 21T
1 21T
1
21T
T12 21
T T12
12T
21T
7
5
810
88 7
912
10 12 13
57
1010 8
6
57 8 10
1214
7 12 10
16
15
12 13 15
15
14
1718
15
12
1317 13 12
87
10
108
10755
875
675
109
10
10108
101
C.P
P
32 P
32 P
32
P
32
P
32
4
2P
3
P 2
3
P
32
P
32
4
P
32
P
32 P
32
P
32
4
P
32
2
34
P23
2 3
3
P2
2 3
P
F.P 21T T
12
21T
2
T1
2
T1
21T
3
21T 2
1T
21T
321T
21T
2
T1
2
T1
2
T1
3
1
2 21T
3
12 2
1T
1 2
T
878
887
9
8
7
8
710
810
9
87
55
9
8
7
8
710
810
9
810
9
8
9
8
7
8
7
5
8
5
4
810
9
1213
12
1315
14
1312 9
1315
1214
15
13
509
1
Double-handed arrangementbars 1-28
Righthand
Lefthand
71012
59
810
16 1417 15 15 14
71112
57
10
914
5 7 5
8
10
4 514 12 9
7
8
7 88
81215
17 16 1417
812 13 15
1412 1313
6
R.H.
5
L.H.
81215
1717
16 1519 18
812 13 15
1412 1313
91115
17 15 1318 17
81014
1216 17
68
12
58
810
15 13 1215 13
610
1215 13 12
11
R.H.
L.H.
46
10
58
13
68
12
71015
11
138
1113
71213 13 12
12 13 15
91013 12 13
8
613 12
15 13 12 13 15 12 13
91013
510
14
R.H.
5
1
L.H.
811
1313
12 11 1014
910
12 13 15 14 12 14
81115 17 18
91318 17 15
91415 14 15
81514
13 12
1513
4 13 12
1615
517
17
17
R.H.
2
L.H.
1311
6 1315
1110
5 1213
1513
910
127
1010 12 13
9 10 11 128 9 10 11 12
59
810
16 14 1215 15 14
71112
101215
91415 17 15
8
1014 1514 12
89
12
23
R.H.
L.H.
710
810
12 17 16
912
14 16 17
1012
1415 13
1114
16 17 19
1214
1617 15
1115
13 15 17
1014
1819
1012
19 17 17 16
87
5
108
5
1210
5
1312
5
1112
5
109
5
1010
3
1312
3
1313
2
913
3
812
5
810
4
87
109
511
93
bars 93-105
R.H.
2
L.H.
71012
10
9
810
16 1417 15 15 14
71112
57
10
9
910 12 10
8
109 10 14 12
89
12
710
810
1213 12
912
14 16 175714
15 13
69
12 13 15
79
12 17 1512 13 15
99
R.H.
3
L.H.
11
10
10
9
1718
1012
18 1717 16
87
5
108
5
1210
5
1312
5
1112
5
109
5
1010
3
1312
3
1313
2
913
3
812
5
810
4
87
109
913
7
812
5
810
4
8101417
91317
81215
81014
81014
17 13
17
8101417
1714
81017 14
158
512
Caprice XII: technical break down, notes and overview
Alternate-picking Sweep-picking Bar numbers
Straight alternate-picking
Combination of alternate-picking and sweep-picking
Bars 1-50 1-3, 5-7, 9-29, 31-50. 4, 8, 30 51-70 51-70
Technical overview
There are many technical similarities between ‘Caprice XII’ and ‘Caprice II’, the most
important of which is the use of straight alternate picking. ‘Caprice II’ has the pedal tone
primarily above the melody whilst ‘Caprice XII’ has it below. This creates a
fundamental difference between the two caprices in terms of plectrum stroke order.
‘Caprice II’ predominantly uses a Π on the strong beats in the bar, with the opposite
applying to this caprice.
Another noticeable difference is the consistent utilization of alternate-picking. Unlike
‘Caprice II’, which reverses its plectrum strokes at different points to accommodate the
melody, the alternate-picking in this caprice remains constant throughout. Such a rigid
picking philosophy creates different plectrum possibilities best seen in the contrasting
pick motions of bars 16 and 17. Bar 16 has the plectrum motion moving towards the next
note whereas the motion in bar 17 is away from the next note.
Technical summary
Alternate-picking is used exclusively throughout this caprice.
513
AllegroXII
p sempre legato
BEADGBE
11
9
11
9
11
9
11
9
11
9
10
913
912
910
911
9
10
9
13
9
11
9
10
9 f.b13
911
9
8
8
6
8 f.b
7
8
6
8
8
8
6
8
7
8
6
8
4
f.b8
65 6
f.b6
55 6 f.b
4
44 5
5 66
811
9
11
9
11
9
11
9
11
9
10
913
912
9
6
109
119
10
9
13
9
11
9
10
913
911
912
89
8
7
88
8
7
89
8
7
88
8
8
f.b9
1010 11
8
109 10 8
98
7 f.b8 1110
108
6
8
6 f.b8
6
6
8
5
8
9
8
6
87
6
f.b
8
10
10
8
12
6
13
5
12
6
10
13
13
15
128
11
10
11
10
11
10
11
8
11
7
11
109
79
76
85
10
13
11
12
13
12
15
1313
11
12
13
1110
1011
1011
f.b
1011
1010
f.b
12
13
13
11
10
10
12
13
14
f.b
13
11
10
10 f.b
12
11
13
13
10
10
12
11f.b
13
13
10
10f.b
13
11
12
11
11
11
10
11
9
1113
11
13
10
12
11f.b
10
8
9
8
8
8
7
8
6
8
5
8f.b
6
7
8
8
514
17
9
10
10
10
11
12
12
12
13
13
10
10
11
12
13
13
10
11
11
13
9
10
10
11
12
12
13
13
10
10
11
11
9
1011
10
8
910
97
95
6
10
9
10
6
20
6
8
6
8
6
7
6
6
6
5
6
4
6
8
6
5
68
6
7
6
6
6
5
6
4
6
8
6
6
68
8
66
5
78
75
66
8
8
9
6
68
23
f
8
66
5
78
75
66
8
8
9
11
11
8
811
11
8
97
8810
98
10 1110
1011 13
1211
1312
11
13
10
9
8
10
9
11
10
1113
811
8
27
p
16
13
16
13
16
13
16
13
16
13
15
13
13
1316
1314
1315
13
15
13
13
13
16
13
15
13
13
1315
13
13
1215
1216
1215
1217
1215
1216
1215
12
30
12
11
14 1515
1514 15
13
18 14 15
19 202017
21
19
21
19
21
19
21
19
21
1923
1922
1920
1918
2017
20
1516 18
1716
1815
1818
19
16
18
515
33
1512
1312 16 13
14
16
13
1516
1414
16
13
14
14
12
13
12
12
1216
1215
1114
11
14
11
13
11
35
11
9
10
9
9
913
912
911
9
11
8
9
9
9
7
9
7
9
7
89 11
129
11 12 9 1112
37
911 12 9 11
129
11
12
9
12
9
12
9
1211
1412 11 14 12 15
12
14
13
15
13
15
13
15
1312
39
10 13 1210
1311
13
10
14
11
14
11
14
11
1413 11 1413
1114
12
14
11
15
12
15
12
15
12
15
12
11
13
11
13
11
13
11
13
11
13
13
13
12
13
10
13
42
12 9 119
910 12
1110
129
1212
13
10
12
9
1112
1110
1213
1012
910
9 131012
13
13
11
12
11
11
1115
1114
1113
11
13
10
12
11
45
12
10
11
10
10
1014
1013
1012
10
13
9
11
1013
11
13
11
13
11
1213
1011131011
1310
11 13 101113
1011 13 10
11
8
11
8
11
8
1110
516
48
1311 101311 14
15
13
12
14
12
14
12
14
1211 9 12 11
912
10
12
9
13
10
13
10
13
10
1312 1013 12
1013
11
13
10
14
11
14
11
14
11
14
11
51
15
12
15
12
15
12
15
12
15
12
12
1215
1213
12 16131513
1314 16
1514
1613
161613
14
16
13
1516
1514
16
12
1416
1314
1312
1416
12
54
12
10
11
10
10
10
9
10
8
9
7
9
9
10
7
10
10
11
9
11
10
12
9
12
11
12
10
12
11
1313 10
1011
109
13
11
11
8
10
9
8
11
118
810
57
1011
10
10
12
11
13
13
11
10
13
11
14
13
15
10
13
11
12
11
11
11
10
11
9
1113
11
14
10
13
11
10
13
9
13
13
13
12
13
11
13
10
13
11
12
13
13
60
14
15
15
15
11
12
12
12
13
13
15
15
11
13
13
14
10
11
11
13
9
10
10
11
12
13
13
14
10
12
11
13
9
911
9
139
109 12 9
911
9
9
911
517
63
11
10
11
13
11
12
11
11
11
10
11
9
11
13
11
10
1113
11
12
11
11
11
10
11
9
11
13
11
11
1113
911
1311 9 13 9 12
1311
9
119 13
812
66
f
911
1311 9 13 9 12
1311
9
119 13
812
911
11
13
1412
1313
119 1310 11
1010
11 1312
1113
12
11
13
10
14
1310
9
11
10
1113
518
Caprice XIII: technical break down, notes and overview
Alternate-picking Bar numbers
Alternately-picked double and triple-stops
Combination of single note and double-stops
Straight alternate-picking single notes
Combination of hammer-ons and pull-offs and alternate-picking
Bars 1-44 1- 18, 23 B1-B4, 27 29-32 19-22, 23 B5-B6, 24-26, 28, 33-44
Ossia 19-20 FH, 24-25 FH, 28-31, 33-34 FH, 38 SH-39, 40 SH, 41 SH-43
Technical overview
‘Caprice XIII’ can be divided into two separate sections; bars 1-18 and bars 19-44. The
first section illustrates the predominance of alternately-picked double-stops, with the
plectrum motion within the second section being reminiscent of ‘Caprice XII’ in which
the strong beats in the bar are played with an V.
1 In bar 19 there are a number of possible options for plectrum motion including
any number of combinations between the ossia staff and main staff. For
519
520
example, it is possible to use the bracketed plectrum stroke option for the first half
of bar 20 and the ossia staff for the second.
2 In attempting to retain the bowing style of the original that slurs adjoining notes
under the same bow stroke, the ossia staff takes advantage of the benefits
provided by using hammer-ons and pull-offs when playing conjunct sequences;
one of these is the ability to place accents with a Π where desired. Sweep-picking
in combination with hammer-ons and pull-offs can be used to economize further
the plectrum motion. This is illustrated with the sweep-picking motion between
the last note of beat one and the first note of beat two in bar 20 and, to a larger
extent, in bars 29-31. One of the drawbacks of using hammer-ons and pull-offs in
combination with plectrum strokes is the timbral inconsistencies that are created.
In this case, a light plectrum pressure is more desirable if timbral inconsistencies
are to be kept to a minimum.
3 The finger-barrés that occur at the end of bar 38 and midway though bar 39 are
most effectively performed using the second finger.
4 The plectrum motion in the ossia staff at the end of bar 41 has been altered
slightly to facilitate optimal picking in the subsequent bars.
Technical summary
Whether the combination is string-skipping, hammer-ons, pull-offs, or adjacent string
motion, alternate-picking is the most prevalent technique employed in ‘Caprice XIII’.
Allegro
XIII
dolce
BEADGBE
1210
1312
f.b f.b1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
810
58
810
1312
1013
1210
1312
6
f
p
f.b f.b1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
810
10
8
887
658
87
108
87
1110
108
87
108
87
1211
1010
87
108
87
1515
13
f
Fine
1413
87
108
87
1211
1010
87
108
87
14
13
1210
1312
1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
8
5
58
887
658
19
f
1
2
h p
h p
h p
10 10f.b
10 9 10
8
12
10
f.b
10 9 10
8
12
1010 9 10
8
12
10
11
9
10
8
9
7
8
6
7
5
6
9
10
8
8
6
7
58
10109 5 5
521
24
h p
h p
h p
10 9 10
8
12
1010 9 10
8
12
1010 9 10
8
12
10
11
9
10
8
9
7
8
6
7
5
6
9
5
8
8
6
7
58
5
28
dolce
2
dolce
h p h p h p h p
h p
15 1515 14 15
12 1615
1213 12 13
101312
10
13 12 13
101413
1011 10 11
8 1210
8
11 10 11
131211
1314 1314
1216
15
121211
10
1211
11
1211
9 10
16
15
10
33
f
f h p
h p
h p
10 9 10
8
12
1010 9 10
8
12
1010 9 10
8
12
10
10
8
8
11
10
12
12
10
11
9
11
8
10
7
8
5
135
11
8
10
7
168
146
157
168
522
37
3
h p
h p
h p
h p
14
11
15
12
16
13
14
10
15
12
13
1015
13
14
12
12
10
f.b11 10 11
9
13
11f.b
11 10 11
9
13
1111 10 11
9
10
9
13
9
13
9
13
9
9 7 9
10
10
11
41
4
D. C. senza replica
h p h p h p
h p
h p
7
8
8
10
10
11
12 10 12
15
10
14 15 14 15
1215
12
f.b
12 11 12
1012
10f.b
10 9 10
8
12
10f.b
10 9 10
8
12
1010
8
523
Caprice XIV: technical break down, notes and overview
Alternate-picking Bar numbers
Double-stops
Combination of triple-stops and single notes
Triple-stops Quadruple-stops
Double-handed finger-tapping
Bars 1-45 1-2, 9-10, 24, 25 B1, 28-29, 33 B2-B4, 34 B 2-B4, 44 B2-B4, 45
7-8, 13-24, 35 B2-B4, 36-37, 39-42
3-6, 11-12, 25 B2-B4, 26-27, 30-31, 38, 43-44 B1
32, 33 B1, 34 B1, 35 B1
1-45
Technical overview
Being similar in length to ‘Caprice XIII’, ‘Caprice XIV’ is dominated by extensive use of
harmonic chord voicing with an underlying rhythmic pattern. As was done in ‘Caprice
IX’, the assigning of a plectrum pattern to a specific rhythmic idea reinforces the overall
cohesion of the caprice whilst retaining the feel of the original. ΠΠΠs dominate the
rhythmic idea, illustrated in bar one, with ΠΠΠs followed by an V and another grouping
of ΠΠΠs.
524
525
ΠΠΠs can as in this case allow the palm of the hand to generate more uniform notes,
cutting them off and controlling staccato and tenuto phrasing. For this reason, the
chord voicings are arranged to have the minimum number of unused strings between
them. However, as the notes in the chord voicing become further apart this becomes
more difficult to achieve. Bar 32 is a case in point: if the fingering is to remain
realistic performing it this way is one of the practical options. However, it leaves
three unused strings between the notes of the chord which must be dampened. The
double-handed arrangement helps in the aforementioned problem by offering a
complete or partial alternative to the more traditional electric guitar technique.
From bar 13 to the end the plectrum strokes have been arranged wherever possible so
that all chords are played with a Π. This helps to emphasize the rhythmic element
whilst allowing the palm of the hand to control note duration and string noise.
Technical summary
Alternate-picking constitutes the technical backbone of ‘Caprice XIV’.
Moderato
XIV
f
simile
BEADGBE
65
65
65
65
65
65
68
36 6
53
653
653
653
653
653
68
7
8
6
8
68
8
68
8
68
8
108
11
68
8
58
6
9
810
57
6
7
simile
6
5
610 8
67
6 85
6
58
6
6
8 8 813 13 13 13 13 13
121312
1312
1312
1312
131210
131210
131210
8 8131210
131210
119
11
119
11
119
11
119
11
119
11
13
1
109
12 12
89
11 12 13 12
11
1012
13
1112
9 10 11 10
10
810
11
91012 13
913
13
1113
13
89
11 12 13 12
12
1012
12
1112
9 10 11 10
18
simile
9
810
10
10
8
10 8
68
7
11 11767
767
658
10 10
1112
11
1112
11
10
810
8 8 98
10
98
10
1312
1113 13
1314
14
1314
14
23
p
cresc
ff
p
cresc
1215
13 13 13 13 13 13
13
13
13
13
13
13
13
13
13
13
14
13
13
14
13
13
14
13
13
14
13
13
13
13
13
910
9
910
9
910
9
910
9
91013
11 1111 11 11 11 11 119
119
119
119
119
11 11
526
30
ff
11109
11109
11109
11109
11109
1214
13
1214
13
1214
13
1214
13
1214
13
10
9
8
8
10
9
8
8
10
9
8
8
10
9
8
8
10
9
8
8
11
1013
1115
15
15
15
12
11
15
15
1113
12
1113
13
13
13
10
10
13
13
35
1113
12
1113 11
1112
10 11 13 11
10
811
12
89
11 12 13 12
11
1012
13
91012 13 14 13
13
1113
12
1213
11
1313
11
1112
111013
13
91012 13 14 13
40
8
68
8
10
810
8 9 11
1113
1211
1112
10 11 12 11
1013
1111
1013
10 11 910
8
6
8
68
7
8
6
8
68
7
8
6
8
8
6
8
6
8
6
8
6
8
6
527
1
Double-handed arrangementbars 1-45
f
Righthand
Lefthand
1110
1110
1110
1110
1110
1110
1113
811 11
10
3
1110
3
1110
3
1110
3
1110
3
1110
3
1113
3
811
4
1113
8
1113
8
1113
8
1513
11
1113
8
58
10
91314
101215
61015 14 12
67
10 12 14 10
1013
11
11
9
R.H.
L.H.
8 8 813 13 13 13 13 13
121312
1312
1312
1312
1312
6
1312
6
1312
6
8 81312
6
1312
6
119
7
119
7
119
7
119
7
119
7
109
12 12
89
11 12 13 12
111517
17
111214 15 16 15
101315
15
91012 13 14 13
16
R.H.
L.H.
81113
13
89
11 12 13 12
71012
12
679 10 11 10
48
1010
58
10 8
68
12
6 6 767
767
20
R.H.
L.H.
1110
36 6
1112
7
1112
7
58
108 8
1413
5
1413
5
1312
6 13 13
81014
81014
121518 18 18 18 18
528
24
R.H.cresc
ff
p
cresc
L.H. ff
p
181318
1318
1318
1318
1318
91318
91318
91318
91318
81318
910
9
910
9
910
9
910
9
91013 6 6
1111 116
11 11 119
119
119
119
119
119
4
119
4
119
4
119
4
119
4
79
4
79
4
79
4
79
4
79
4
6 6
32
ff
R.H.
ff
L.H.
10
91317
10
91317
10
91317
10
91317
10
91317
11
101315 15
201520
1216
1520
68
1215 13
181318
1015
1318
11131720 17 15
111214 15 17 15
101315 12
89
11 12 13 12
61012
13
91012 13 14 13
81113
71213
61313
61112
39
R.H.
L.H.
111013
13
91012 13 14 13
81113
13
101315 17 18
15
111317
15
111214 15 16 15
101315
16
1013
14 15 1315
36
13
68
12
36
13
68
12
811
8
811
811
811
811
811
529
Caprice XV: technical break down, notes and overview
Sweep-picking
Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking single note
Octaves, double-stops, triple-stops including slides
Single notes, double and triple-stops
Bars 1-35 9 SH, 10-11 B1, 11 B5-B6, 12-13 B1, 13 B5-B6, 14-17 B3, 18 B1-B4, 21 B3, 29 SH
20, 21 B1-B2, 21 B4-B6, 22-23, 29 FH
1-9 FH, 11 B2-B3, 13 B2-B3, 17 B4-B6, 18 B5-B6, 19, 33-35
24-28, 30-32
Technical overview
The octaves played between bars one and nine have the same finger spacing, making the
main focus the linear movement and the slides. With so much linear motion occurring in
the left hand, the dampening of the unused middle string in the finger pattern is of
paramount importance.
Both notes connected by the slide are either a semitone or whole tone apart, having been
arranged on the same string. This helps retain both the continuity of tone and the
phrasing, further reinforcing the rhythmic structure and overall octave theme. By
530
531
utilising a combination of ΠΠΠs and slides, it is possible to optimize the plectrum motion
whilst retaining palm control over the portato phrasing.
1. In both beats four and five of bar 16, the plectrum motion consists mainly of
sweep-picked down-strokes arranged to make linear motion unnecessary.
However, sweep-picking is interrupted between the last note of beat three and the
first note of beat four requiring a string-skip before continuing. Skipping the D
string, or indeed omitting any string from a continuous sweep, creates a unique set
of problems. In this case, the notes either side can create an inequality of tone.
2. Within bars 24 and 25, the movement from the single note to double-stopped
thirds utilizes a string-skipping sweep-picking technique that occasionally
requires the plectrum to traverse all seven strings in the space of a sixteenth note.
The second double-stop is played with a V which moves the plectrum towards the
next note, a five-string skip away.
3. The plectrum reversal within bar 26 is initiated by a reversal in the order of low
and high notes. Sweep-picked Vs are used mid-bar in order to retain optimal
plectrum technique.
4. The last six notes of bar 29 utilize sweep-picking for the express purpose of
retaining the plectrum pattern established in bars 24 and 25 and applying it to bars
30 and 31.
5. Retaining optimal plectrum motion through sweep-picking also occurs at the end
of bar 32.
Technical summary
Alternate-picking in combination with slides, double-stops, triple-stops, consecutive
down-strokes and sweep-picking, are the main techniques used in ‘Caprice XV’.
Posato
XV
p
s
s
ss
f
ss
p
ss
ss
f
ss
p
BEADGBE
7
9
9
11
10
129
12
7
10
5
8
6
8
7
9
9
11
6
8
7
99
11
10
12
12
1410
13
9
12
7
10
8
10
9
119
12
6
8
7
9 9
12
7
10
6
f
ss
p
f
ss
decresc
ss
s
s
f s
s
p
5
8
6
9
7
10
9
11 7
10
5
8
4
7
4
7
5
8
7
9 5
8
4
7
3
6
5
8
4
7
2
5
8
10
6
8
7
9 8
11
9
129
87 12
1110
11 14
10
1212
12 15
1617
15 19
1416
14 17
1212
12 15
1311
12 17
14
1212 17
11
f
ss
p
1112
11 14
13
15
14
16 1112
11 14
1212
12 15
1413
14 17
1719
17 20
1617
15 19
1413
14 17
1513
12 18
1614
16 19
13
f
ss
p
f
p
1617
15 19
13
16
14
1721
2019 24
1921
19 22
1717
17 20
1816
17 21
1917
17 22
1614
15 1919
1917 22
1719
17 20
532
15
f
p
f
1
1615
15 19
1614
15 19
1716
15 20
1412
13 1717
1715 20
1617
15 19
1413
14 17
108
7 12
119
7 10
12 1715
14
1617
15 19
1211
99
17
s
s
s
s
Fine
9
19 1517
1617
1617
19
1617
19 14
15
18
16
19
12
1212
13 1416 12
12
16
1516 17
19
121414
12
9
8
1214
16
12
99
11
13
12
14
20
f
810
9
8 8 12 10 811 9 7
10 9 710 9 7
10 8 7 10 810 8
10 12 1410 12 14
11 1212
1212
15 1215
1519 15 22 19 27
8
22
10
11
10 14 12 1014 12 10
12 11 912 11 9
12 10 9 12 10 7 5 7 95 7 9
6 77
77
1011
1010
1415
1719
22
0
533
24
2
912
7 8 10 7 8 58
1514
1312
14 15 17 14 15 1215
1413
1212
7 85
7 8 58
1212
14
14
9 10 12 9 1012 10
14
12
26
3
14
14
012
12
11
11
10
12 8
1212
0
1110
0
9
9
07
1415
1416
1412
11
1212
9 1210
05
5 8 7 58 7 5
6 7 9 710 6 7
8 99
58
29
4
7 10 710
10
910
79
87
78
1012
1515
1920
19 1617
14
9
8
7 9 10 7 910 8
9
8
1110
9 10 12 9 1012 10
11
10
31
5
87
5 7 9 5 79 7
812
108
7 9 10 7 910 9
1014
16
15
0 12
12
12
9
8
8
10
10
07
7
011
10
9
33
f
ss
p
f
ss
p
f s
s
D. C. al Fine
8
11
14
12
15
0
1314
17
17
0
1014
0
8
6
9
7
10
5
57
5
5
57
7
5
8
9
11
10
12
8
534
Caprice XVI: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Bars 1-50 1-5, 6 B1-B2, 8 B1-B2, 9 B1-B2, 9 B5-B6, 11, 13-15, 19-21, 23, 32 B1-B2, 34 B5-B6, 39, 50
6 B3-B6, 7, 8 B3-B6, 9 B3-B4, 10, 12, 16-18, 22, 24-31, 32 B3-B6, 33, 34 B1-B4, 35-38, 40-49
Bars 51-53 51 52-53
Technical overview
To preserve the overall flow of ‘Caprice XVI’ sweep-picking has been used wherever
possible. The resulting reduction in plectrum pressure lends sweep-picking a character
which is more in line with the smooth overall flow of the caprice.
1. Alternate picking is used where large string-skips occur, one such example can be
seen in bar 7. In this case, alternating between stationary high notes and
descending low notes creates increasingly larger string-skips.
2. Another extreme example of string-skipping occurs in bars 50 and 51. Unlike the
string-skips that occur in bar 7, a sweep-picking solution that more closely
resembles the original bowing strokes is possible. In the original, the high notes
are played under the same bow stroke. Apart from the first beat of bar 50, all the
535
536
other high notes are played with the same plectrum motion. Although this does
not give exactly the same attack of the original it more closely mimics the legato
sound than would an alternate-picking option.
Technical summary
To retain the legato sound of ‘Caprice XVI’, sweep-picking has been combined with
alternate-picking at every opportunity, provided it does not reduce the optimal plectrum
movement.
Presto
XVI
f
f
f
f
f
BEADGBE
108
78 10 11 7 10 8
78
10 9 1211
1210
15 1314
16 1215 12
3
f
f
f
f
f
f
f
14 1715 18
1617 14
16 1315 13 12 13 17 12 17 f.b.
1514
1212
1213
1516
1312
1315
f.b.13
12 1515
14
1113
14
6
f
f
f
f
1
f
f
f
f
f
f
15 1012
13
11
15 14 12
14
17 1416
15 12
15
15
13
15
11
15
15
15
14
15
15
14 1115
14
1415
1416
17 15 12
9
f
f
f
f
f
f
f
f
f
f
710
97 10
9 8 67
9
9 8 68 7 5
8
8
10
10
8
8
6
7
58
75 8
7 6 45
7
7 6
537
12
f
f
f
f
f
f
f
f
47 5 3
6
7
5
6
8
6
5
65
8
65
8 6
5 8
68
86
8 7
1110 13 18
1715 f.b.
1515
13 18
15
f
f
f
f
f
f
14 1514
1517 15 14
1415
17 15 14 17 15 14 16 15 14 17 15 14 15 1315
1213 12 14 13 12 15 13 12 13
14 12
18
f
f
f
f
f
f
15 13
12 14 13 12 15 1316
1316
1715
15 1412
15 1413
15 14 1516 14 17 15 14 16 15 13
1517 13 12 11 8
21
f
f
f
f
f
f
f
f
f
f
f.b.11
108
8
f.b.11 12 7 10 8
810
11 10
13 10 1310
13
13
13
10
13
12
13
1311
1210 12 13 9 12 10
1211
13
538
24
f
f
f
f
f
f
f
10
1011
10
10
10
7
10
8
10
8
10
10
11 10 11
8
10 9 10
7
9 8 9
8
10 9 10
6
8 7 8
5
6 5 6
27
smorzando
1110 10 13 13
13 1312 12 15 15
16
1111 11 15 15
13 1313 13 17 17
16
1112 12 15 15
13 1314 14 17 17
16
30
p
1513
1413
f.b.15
1511
1012
11
1210
1312
97
10
11 10 9 811 10 9
8 67
8 57 9 8 7 8 6
8
33
f
f
f
f
f
f
f
f
f
f
f
11
15 14 13 1216 15 14
1216 15 14
1216 15 14 13
17 15 13 1216 15 14
10
11
10
12
8
8
6
7
5
5
3
3
539
36
f
f.b.10
12 912
12
1112
10f.b.11
1010
14
12
13
11
14
10
11
13
13
11
12
10
10
8
13 1012
f.b.13
1212
1112
1011
15
39
f.b.
1315
16 1212
12 1012 9
1013 10 8 11 10
811
10 9 12 108 7 10 8 12 10
8 7 11 9 12 1110 8 11
42
10 13 11 15 8 11 10 13 6 10 8 118 12 10 14 7 10 8 12
10 13 12 15 8 12 10 1312 13
9 10 11 12 13 10
45
f
f
f
f
8
10
6
8
5
6
5
8 7
8 6 58
11 10 9 811 10 9 8
12
10
11
8
11 10 9 811 10 9 8
12
10
2
540
48
f
2
f
f
f
8
8 7 6 59 8 7 6
10
10 14
8
8 7 6 59 8 7 6
10
10 14
8
15 10
8
1011
8
1112
51
f
f
f
ff
8
1212
8
1213
8
1310
8 8 10 117 8 9 10
11
3
810
8
541
Caprice XVII: technical break down, notes and overview
Alternate-picking Bar numbers
Straight alternate-picking single note
Combination of alternate-picking and hammer-ons and pull-offs
Double and triple-stops
Bars 1-43 1-6, 19 SH 7 FH, 8 B3-B4, 10 FH, 11 B3-B5, 12 FH, 13 B3-B5, 14 B3-B5, 15 B3-B5, 16 B1-B2, B6-B8, 17 B3-B5, 18 B3-B8, 19 FH, 20 B3-B4, 20 B7-B8, 21 B3-B8, 22 B1-B4, 23 B3-B4, 24 B3-B5, 25 B3-B4, 41 FH, 42 B3-B4
7 SH, 8 B1-B2, 8 B5-B8, 9, 10 SH, 11 B1-B2, 11 B6-B9, 12 SH, 13 B1-B2, 13 B6-B8, 14 B1-B2, 14 B6-B8, 15 B1-B2, 15 B6-B8, 16 B3-B5, 17 B1-B2, 17 B6-B8, 18 B1-B2, 20 B1-B2, 20 B5-B6, 21 B1-B2, 22 B5-B8, 23 B1-B2, 23 B5-B8, 24 B1-B2, 24 B6-B8, 25 B1-B2, 25 B5-B8, 26-40, 41 SH, 42 B1-B2,42 B5-B8, 43
Technical overview
From a technical perspective, ‘Caprice XVII’ can be broken down into three specific
sections; bars 1-6, 7-26 and 27-40. In the first, section alternately-picked single-note
melody is used in conjunction with double and triple-stops. In the second, the dominant
technique is hammer-ons and pull-offs, used in conjunction with alternate-picking and, to
542
543
a lesser extent, with the ΠΠΠs commonly found on double-stopped eighth notes. The
third section consists of alternately-picked octaves.
The main theme begins in bar 7 with all the scalic patterns grouped where possible three-
notes-per-string. The original bow strokes and legato feel can be recreated to some
extent by using hammer-ons and pull-offs. This creates a contrast between the diatonic
thirty-second-note runs and the eighth notes. When playing the eighth notes with ΠΠΠs,
the palm of the plectrum hand can be rested on the strings to control the portato phrasing.
In the alternately-picked octaves starting in bar 27, the notes have been arranged three-
notes-per-string where possible to minimize linear shifts that can be cumbersome at these
speeds. To aid these shifts when they do occur the same fingering is utilized for every
pair of octaves.
1. The first notes of bars 1 and 2 consist of unison notes played on different strings.
In this case the physical restrictions of such a stretch make it easier to play the
notes where the frets are closest together.
2. Bar 20 illustrates one of the most effective ways to play chromatic scales on the
electric guitar; four notes per string, one plectrum stroke for each group of four
notes with the other three played with either hammer-ons or pull-offs.
Technical summary
There are two equally dominant techniques within ‘Caprice XVII’; the first hammer-ons
and pull-offs and the second, alternate-picking.
SostenutoXVII
1
f
BEADGBE
11 1116 16 16
141614
161412
161412
161412
161312
131312
5
111013
78
10 711
1015 11
13f.b
15 13 16 15 1315 14
1315 12
1514 12
13 12 15 1315 12
1215 12 13 12 13
15
18
11
Andante
6
h p p p p p
p p p p p p p p
10 1111
13 11131210
13121013
8
6
9
8
9
9
11
10
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
8
11
10
8
6
10
p p
p p p p p p p
h h
h hh h h h p
11 10 9 811 10 9 8
12 11 10 913
65
86
97
108
65
8 10 128 10 12
10 11 1310 11 13 15 13
65
86
108
12
p p
p p p p p p p
h h
h hh h h h p
1110
11 10 9 811 10 9 8
12 11 10 913
65
86
97
108
65
8 10 128 10 12
10 11 1310 11 13 15 13
65
86
108
544
14
p p
p p p p p p
p p
p p pp p p
65
11 10 9 811 10 9 8
12 11 10
87
98
7
6
8
5 5
11 10 9 811 10 9 8
12 11 10
87
98
7
6
16
p pp p p p p p
p p p p p p p p
8
57
9 8 7 69 8 7 6
10 9 8
65
77
59
68 5
9 8 7 69 8 7 6
10 9 8
65
76
59
18
p pp p p
p pp p p
p p p p p p
68 5
8 7 6 59 8 5
6
8 7 6 59 8 6
8
8 7 6 59 8 6 5
19
p p p p p p
p p p p p
8 7 6 59 8 7 6
8 7 6 59 8 7 10
86 10
810
1113
14 1113 10
11 810 7 10
20
2p p
p p p p p p p
p pp
p pp p p
p
8
6
8
11 10 9 811 10 9 8
12 11 10 913
6
8
10 9 8 711 10 9 8
11 10 9 8
545
21
p p p p p p p p p p p p p p p p p p p p p p p p
7
6
8
13 12 11 1014 13 12 11
14 13 12 1115 14 13 12
16 15 14 1317 16 15 14
18 17 16 159 8 7 6
108
6 9
10
22
h hh h
h p p p p p p
pp p
p pp p p
65 8
6 7 87
6 9 106 11 8 6
9 8 68 7 5
8
8
6
9
8
10
9
11
10
8
6
1115 13 11
15 13 111312 10
13 121013
8
6
9
86
5
24
h p pp p p
p p p p p p p p
Fine
8
6
9 1111 8
11 9 810 8 7
10 8
8
6
9
859
6
5
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
8
1113
12
8
6
8
27
10
12
11
13
8
10
7
9
8
10
10
12
11
13
10
12
11
13
13
1510
12
9
11
10
12
12
149
12
7
10
9
12
10
1210
13
9
12
10
137
10
8
11
7
10
8
11
10
13
12
15
8
10
12
15
12
15
13
16
12
15
13
16
12
1512
15
11
14
12
15
10
13
546
30
10
13
9
12
10
13
9
128
11
7
10
8
11
10
13
10
13
8
11
8
11
11
13
11
13
10
12
10
12
9
11
9
11
10
1212
15
10
12
11
13
8
10
7
9
8
10
10
12
11
13
10
12
11
138
10
10
12
9
11
10
127
10
9
12
7
10
9
12
10
1210
13
9
12
10
137
10
8
11
7
10
8
11
10
13
33
12
15
8
10
12
15
12
15
13
16
12
15
13
16
12
1512
15
11
14
12
15
10
1310
13
9
12
10
13
9
128
11
7
10
8
11
10
13
8
11
6
9
5
8
8
10
6
85
8
8
10
5
7
7
9
8
10 10
13
6
8
6
8
6
8
5
7
6
85
7
8
108
117
10
10
13
37
13
16
10
13
7
10
11
13
11
13
11
13
10
12
11
1310
12
13
1513
1512
15
15
18
18
21
15
18
15
17
13
15
13
15
13
15
12
14
13
1510
12
11
13
10
12
11
13
13
1510
12
9
11
10
12
12
149
12
7
10
9
12
10
1210
13
12
15
13
1610
13
12
15
10
129
12
10
13
8
10
41
h p p
p pp
p
p p p p
D.C. sin' al Fine senza replica
p p p p
10 1111 8
11 9 810 8 7
10 8
8
6
9
8
10
96
5
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
86
5
8
6
547
Caprice XVIII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Double-stops and quadruple-stops
Bars 1-50
1-16 17, 19 B4-B8, 26, 28 SH, 30 SH, 35, 39-40, 42 SH, 48 SH
18, 19 B1-B3, 20-25, 27, 28 FH, 29, 30 FH, 31-34, 36-38, 41. 42 FH, 43-47, 48 FH, 49-50
Bars 51-52 52 51
Technical overview
‘Caprice XVIII’ falls logically into two discrete sections; bars 1-16 and 17 to the end.
The arrangement of the fingering in the entire first section means that it can be played in
one position. One of the big advantages of this is the fact that both hands can work
together to dampen the excess string noise. This can be more difficult when the left hand
is making linear shifts on the neck as it can create unwanted noise which the right hand
must control.
548
549
On closer analysis, bars 1-16 can be divided in two with the second eight bars being
effectively a repetition of the first eight in both melodic content and technique. Finger-
barrés are also utilized to make notes on consecutive strings that occupy the same fret
easier to play, as in bar 1.
1. When arranging double stops in the Allegro section the tuning of the guitar
creates the need for the use of finger-barrés to play the fast double-stops. Such
examples occur in bars 21, 22 and 23.
2. Bars 29-30 replicate bars 27-28 and the plectrum technique reflects this.
3. Within the Allegro section, the main theme generally consists of variations of bar
17. The octave leap followed by a scale is picked in two different ways; two
sweep-picked Πs, or alternately-picked, the subsequent notes influencing which
plectrum motif is used. Bars 35 and 36 are examples of the two variations that
occur throughout this section.
4. With the introduction of the fourths and sixths in bars 36-38 the format for the
fingerings changes slightly. The interval of a sixth in this caprice is best
performed using two fingers rather than the more obvious solution of a finger-
barré. Using two fingers allows the underside of the first finger to dampen the
unplayed string, as in this case.
Technical summary
Although sweep-picking does occur within both sections, it does so only to facilitate
efficiency in the more dominant alternate-picking technique.
Corrente
XVIII
BEADGBE
87
5
f.b8
87
57
8
5
88
75
f.b8
87
57
8
5
88
75
f.b8
87
5
6
f f
f
f
f.b
55
5
f.b
55
55
57
8
57
8
5
87
5
f.b8
87
57
8
5
88
75
f.b8
87
5
12
ff
f
f
f
Fine
78
5
88
75
f.b8
87
5
f.b
55
5
f.b
55
55
57
88
5
8
5
Allegro
17
p
10
13 12 1012 10 9
12 f.b f.b1514
1717
1615
1413
f.b1212
1010
98
1210
109
97
1210
109
87
1210
108
87
87
75
12
15 13 1214 12 10
14
20
1
1210
1513
1312
1210
f.b f.b1413
1212
1010
1412
1210
109
1412
1210
109
1312
1210
108
108
87 f.b
98
55
76
87
98
1110
1110
98
550
22
f.b f.b1212
1010
98
87
87
98
f.b98
55
76
87
f.b f.b98
1413
1413
1212
f.b1212
1010
98
87
87
98
75
87
108
119
cresc
1210
1312 10
91210
24
p
f.b1412 10
91210
1412
f.b1010
1212
1413 12
101312
10
1014
10
12
15
10
12 11 912 10 9
12
27
2
cresc
p
f.b109
1212
1110
98
1211
109
97
1210
109
1210
75
87
108 7
587
75
87
108
108
87
87
75 10
12 11 912 10 9
12
29
2
cresc
p
f.b109
1212
1110
98
1211
109
97
1210
109
1210
75
87
108 7
587
75
87
108
108
87
87
75
10
13 12 1012 10 9
12
31
f.b109
1312
1210
108
f.b1212
1010
98
76
98 17
151513
1312
1615
1413
1212
1514
1412
109
1210
f.b f.b1412 14
131212
1010
1010
1412
1514 12
101412
1413
1514
1311
551
33
cresc
f
10fr
8fr
p
3
4
1412
1210
109
1412
1210
109
1312
1210
1312
8
10
10
7
810
9
8
12
14 12 1014 12 10
14 f.b1210
1413
1212
1010
1412
1210
109
1412
1210
1412
1413
f.b109
10
10
109
1210
37
cresc
1210
109
1210
1412
f.b109
10
10
109
1210
f.b1210
109
10
10
109
109
1412 12
10109
f.b f.b1412
1210
1210
1010
1010
810
810
710
710
610
610
69
69
1112
11
10
1112
39
f
p
cresc
f.b1211
99
3
5 47 5
8 7 5 32
86
65
53
f.b76
55 5
3
76
55
87
75
53
87
75
53
87
42
p
cresc
67
58 5
7 5 47 5 4
7 54
108
87
75
f.b f.b98
77 7
5
98
f.b77
55
97
75
54
97
75
54
44
p
34
25
3
376
55
43
75
54
32
75
53
87
75
108
f.b
87 7
5
8
8
76
55
97
75
54
87
75
552
46
108
87
75
108
87 7
587 7
554
97 5
497
75
64
75 5
5
97
75
97 7
655
97 5
5
97
75
64
f.b
75
87
77
67
48
p
f.b77
76 7
10 8 69 7 6
9 75
108
87
65
f.b98
76
55
97
f.b75
1312
1210
108
f.b1212
1010
98
1210
50
cresc
fD. C. la Corrente
109
75
97
f.b109 5
5
109 7
6
f.b
76
109
10
10
109
109
97 7
6
109
f.b f.b97
75
75
55
55
810
810
710
710
610
69
67
710 7
7
46 f.b
57
5
5
553
Caprice XIX: technical break down, notes and overview
Alternate-picking Bar numbers
Straight alternately-picked single notes
Combinations of single note, double-stops, hammer-ons and pull-offs
Octaves
Bars 1-50
27-42 5-26, 43-50 1-4
Bars 51-66
51-66
Technical overview
‘Caprice XIX’, like its immediate predecessor, is divided into two major sections with the
first four bars being of little technical consequence. The main theme that starts in bar 5
utilizes continuous ΠΠΠs. This allows the palm on the right hand to retain maximum
control of the staccato phrasing, continually dampening and cutting off the notes when
necessary. In combination with the pull-off acciaccatura this helps retain the original
character of this section giving it a “bouncy” feel. The second section, which begins in
bar 27, has been arranged for straight alternate-picking. Dampening also plays an
important part in this section in maintaining the staccato and tenuto phrasing of the
original.
554
555
Within the Allegro section the double-stopped chords have been given two performing
options. The bracketed notes provide a fingering option that utilizes a smaller stretch.
The alternative, which demands a larger stretch, has the advantage of eliminating the
chance of striking the middle string that must otherwise be dampened in the bracketed
version.
Technical summary
Whether it be single note ΠΠΠs or double-stops, alternate-picking is the predominant
technique used in ‘Caprice XIX’.
Lento
XIX
Allegro assai
p
pp
p
p
f
p
p
f
BEADGBE
15
18
12
15
8
11
15
18
13
15
13
15
10
12
6
88
11
6
8
6 86 6 5 16 5 6
610
8
36
6 6 6 56 5 6
610
7
p
p
f
p
p
f
p
p
f
p
p
f
3 8
48
6 6 6 5 66 5 6
610
8
811
6 6 6 5 66 5 6
610
13
811
11 11 11 5 611 10 11
610
13
811
11 11 11 611 10 11
811
11
p
p
f
p
p
f
p p h h p
p
f
5 13
610
11 11 11 5 411 10 11
610
13
59
11 11 11 911 10 11
1014
1113
12
15 15 1315 1514 15 17
118
11 11 11 10 11
108
15
p
p
f
p
p
f
p
p
f
p
p
f
8
86
11 11 11 11 10 11
108
5
65 8 8 8 5 38 7 8
610
5
48
8 8 8 3 68 7 8
48
13
811
11 11 11 10
11 10 11
1115
556
19
p
p
f
p
p
f
p
p
f
p
p
f
p
p
f
6
13 6 58
11
11 11
811
13 5 46
10
11 11
610
13 4 859
11 11
59
11 8 69
13
10 10
913
88
11
11 5
913
8
610
11 668
713
811
11 11 11 11 10 11
68
23
p
p
f
p
p
f
p
p
f
p
6
13
811
11 11 11 611 10 11
68
16
811
15 15 15 6
15 13 15
68
20
811
18 18 18 6
18 17 18
68
9
811
8 8 8 8 68 7
27
f la prima volta, e p la seconda volta
f
88
6 58
5 68
5
8
8 6 5 6 8 5 6 58
56 5
8
5
6 58
8
6 58
8
78
58 7
8 6 5 6 58 7 8
5 6 9
30
5
85 7 8
5 7 95 7
4 5 75 7 8
88
6 58
5 68
5
8
8 6 5 6 8 5
557
32
6 58
56 5
8
5
6 58
8
6 58
8
8 9 88
8 9 8
6
8 9 8
5 58 6 5
85 6 8
5 74 5
35
6 8 65
6 8 68
6 8 6
5
6 8 6
7 8
6 85 6 8
5 7 85 7 8
6 8 10 11
6 8 65
6 8 68
6 8 6
5
6 8 6
7
38
6
8 7 58 6 5
8 6
6 58 6 5
8 7 88
6 58
5 68
5
8
8 6 5 6 8 5 6 58
56 5
8
5
6 58
8
6 58
8
41 1.
2.
p
p
f
8 9 88
8 9 8
6
8 9 8
5 58 6 5
85 6 8
5 74 5
10
8
8 8 8 5
8 7 6
610
558
44
p
p
f
p
p
f
p
p
f
p
p
f
6
13
811
11 11 11 5 8
11 10 11
610
13
913
11 11 11 11 10 11
68
13
910
11 11 11 6
11 10 11
68
13
811
11 11 11 5
11 10 11
610
48
p
p
f
p
p
f
p
p
f
ph
h
6
13
811
11 11 11 6 511 10 11
811
13
610
11 11 11 5 411 10 11
610
18
59
16 16 16 416 15 16
59
810
10 10 1010 11 13
811 11
52
p
p
f
p
p
f
p
p
f
p
p
f
11 1311 11 11 10 11
108
13
86
11 11 11 11 10 11
86
5
65 8 8 8 5 88 7 8
610
5
913
8 8 8 88 7 8
913
56
p
p
f
p
p
f
p
p
f
p
p
f
p
p
f
613
811
11 11 11 5 611 10 11
610
13 6 58
11
11 11
811
13 5 46
10
11 11
610
13 4 859
11 11
59
11 8 69
13
10 10
913
88
11
11 59
13
8
610
11
68
7
559
60
p
p
f
p
p
f
p
p
f
6 13
811
11 11 11 611 10 11
68
13
811
11 11 11 611 10 11
68
16
811
15 15 15 15 13 15
68
63
p
p
f
p
p p
f
7fr
7fr
7fr
620
811
18 18 18 518 17 18
68
25
811
23 23 23 2523 22 23 22 23
68 6
5
68 6
5
68
7
8
6
8
68
7
8
6
8
560
Caprice XX: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate picking and sweep-picking
Straight alternate-picking single note
With pedal note
Double and triple-stops
Double- handed finger- tapping
Bars 1-50
28 FH, 33 SH, 34 FH, 35, 36 FH, 40 FH, 41 FH, 42 FH, 43 FH, 44-45, 47 B5-B6, 48-50
25-27, 29-31, 32 FH, 33 FH, 37-39
1-15 16-24, 28 SH, 32 SH, 34 SH, 36 SH, 40 SH, 41 SH, 42 SH, 43 SH, 46, 47 B1-B4
1-24
Bars 51-57
51-52 53-55, 56 FH
56 SH, 57
Technical overview
From the standpoint of technique ‘Caprice XX’ divides logically into two distinct
sections. The first, bars 1-24, is characterized by a melodic line over a pedal-note
accompaniment; the second section, bar 25 to the end, utilizes a combination of
alternately-picked single-note melody with ΠΠΠs employed for the octaves.
561
562
The arrangement of the first fifteen bars takes advantage of the open D string. To retain
timbral consistency, both the pedal note and the higher melody note make use of a Π on
beat one of the bar.
Double-handed arrangement
Although the first 24 bars use traditional technique, the double-handed addition shows
how its two-part character can be more fully realized. The left-hand plays the simple
pedal tone whilst the right hand plays the melody. In bars 17 to 24, the physical stretches
dictate which hand plays the single note and which plays the double-stopped portion of
the chord.
Technical summary
Alternate-picking in combination with other techniques occupies specific sections of
‘Caprice XX’.
Allegretto XX
dolce
BEADGBE
0
7
0
8 5 77
02
10 8 7
0
8 5 77
02
7 8 10
0
12 10 9 10
5
7 10 8 7
6
5
7
5 7 5 5 10 9 8
9
f
0
7
0
8 5 77
02
10 8 7
0
8 5 77
02
7 8 10
0
12 10 9 10 707 5
77
75
6 75
70
1419
01115
01217
01318
18
Fine
01419
01115
01217
01318
01419
01620
01419
01218
01419
01115
09
10
09
10
50
7
40
5
7
07
047
056
057
059
09
709
709
709
700
12
09
10
08
9
25
f
7 6 7 95
9 7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
9 8 9 117 9 11 1011
15 14 1215
1414 18 21 26
9
11
9
11
9
11
563
29
7 6 7 95
9 7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
9 8 96 7 9
7 6 712 9
11 12 11 12 1514 19
9
12
9
12
9
12
33
10 9 1011 8
9 79
11 79
710910710
99
12
9
12
9
128 7 8 5
67 5
79 5
75
9 7 9 5 97
7
10
7
10
7
1012 11 12
15
1512 10 9 10
9
1410
38
p
f
p
f
p
121112
12
12
1211 911
10
10
11 9 8 9
8
8 79 8 9
9
9 7 6 4 6
5 97
14
17
14
17
14
17
121112
111513
13
16
13
16
13
16
11 9 11
10 1412
14
17
14
17
14
17
43
f p
p
cresc
f
p
121112
111513
13
16
13
16
13
16
f.b
11 9 1112
12 9f.bf.b
12 111212
14 10 f.b
11 9 1112
1214 f.b
12 111212
14 10 11
13
11
13
11
1310
12
10
12
10
128
10
8
10
8
108
1110
121312
564
48
119 11
10
1211
910
910
12 10 f.b97
77
109
78
79
10 9 8 119
7
98
67
78
67
51
f
f.b109
97
1210 f.b
99
1311
97
1414
1211
12
f.b14
1311
1111
7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
55
D. C. al Fine
9 8 96 7 9
7 6 7 96
77 6 7 9 10 12
11
14
11
14
11
14
9
12
12
565
1
Double-handed arrangementbars 1- 24
dolce
Righthand
dolce
Lefthand
10
11
10
1214
1112
1012
14 12 11
10
1214
1112
1012
11 12 14
10
1214 13 14
10
11 14 12 11
1114 14
1114
8
R.H
L.H
79
10
1013 12 11
10
12 9 1112
1012
14 12 11
10
1214
1112
1012
11 12 14
10
1214 13 14 11
10
1114
15
R.H
f
L.H f
212
2
511 12
912
5
1419
5
1115
5
1217
5
1318
5
1419
5
1115
5
1217
5
1318
5
1419
5
1620
5
1419
5
1218
20
R.H
L.H
10
19
19
10
16
15
109
14
109
14
1510
16
1410
14
1210
12
101417
51011
51012
51014
109
12
109
12
109
12
109
12
1010
16
109
14
108
13
566
Caprice XXI: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Double-stops Quadruple-stops
Double- handed finger- tapping
Bars 1-50
36 B1, 37 B1, 40-42, 43 B1, 44, 45 B1, 46, 47 B1, 48, 49 B1-B6, 50 B1-B2, B5-B6
1-3, 12 B1-B6, 20 B1-B6, 28 B1-B6, 36 B2-B8, 37 B2-B8, 38-39, 43 B2-B8, 45 B2-B8, 47 B2-B8, 49 B7-B8, 50 B3-B4, B7-B8
4-11, 12 B7-B8, 13-19, 20 B7-B8, 21-27, 28 B7-B8, 29-35
Bars 51-58
51 B1-B2, B5-B8, 52, 53 B1, 54 B1, 55 B1, 56 B1
51 B3-B4, 53 B2-B8, 54 B2-B8, 55 B2-B8, 56, B2-B8, 57B1-B5
57 B7, 58 B1, B3, B5
54-55
Technical overview
‘Caprice XXI’ like ‘Caprice XX’ can be divided into two specific sections. Alternately-
picked double-stops dominate the first section (bars 1-35), whilst the second section uses
a combination of alternate-picking and sweep-picking.
The ossia tablature staff offers an alternative fingering for the sixth intervals that are
predominant throughout the first section. Although requiring a larger stretch, the
567
568
alternative tablature staff provides an option that eliminates the need to dampen a middle
string, allowing a “wider” vibrato to be used if desired.
The plectrum patterns that occur in the first section have been arranged so that down-
strokes coincide with the strong beats in the bar wherever possible. By manipulating the
plectrum strokes, the cadences at bars 11, 19, 27 and 35 are at their most effective.
Because all these cadences follow the same rhythmic pattern, the last triplet immediately
preceding the cadential bars begins with an up-stroke thus maintaining the same plectrum
pattern.
1. The scales in bar 28 have been arranged four-notes-per-string so that the linear
shifts necessary to play the scale can be made in small increments. Through the
use of slides, the linear shift performed by the fourth finger sliding from the third
to the fourth note on each string is more gradual and less liable to interrupt the
flow of the scale.
2. Bars 40 and 41 are root position and first inversion arpeggios that are arranged so
that each arpeggio requires no linear motion. In addition, plectrum motion has
also been optimized to take advantage of sweep-picking strengths.
Technical summary
ΠΠΠs and a combination of alternate-picking and sweep-picking are used throughout this
caprice.
XXIAmoroso
con espressione
3
711
59
59
912
912 9
127
11
913
1014 7
1159
912
912
711 9
127
1159
BEADGBE
7
6
5 5
10
7
6
5
4
5
4
9
7
9
79
7
7
6
9
8
10
97
6
10
9
9
7
9
7
7
69
7
7
6
5
4
8
811
912 7
111114
1114
912
912
912
711
711
711
610
59
711 7
1159
912
1014
1216 9
121114
1216 9
131114
76
7 979
8
6
9
77
6
11
96
5
9
7
9
7
9
7
7
6
7
6
7
6
6
5
5
4
7
67
6
5
4
9
7
10
9
12
119
7
11
9
12
119
9
11
10
76
7 979
12
3
1418
1216
1216
1114
1114
1619
1418
1115
1216
1418
1216
1114
12 14 1612 14 16
13 14 161314 16
14 16 1714 16 17 19 21 23 24
17
14
14
12
12
12
12
11
10
11
10
16
15
14
14
11
11
12
12
14
14
12
12
11
10
569
15
1114
913 11
159
14
1216
1013
1114 9
141317
1317
1115
1115
1115
914
914
914
813
712
913
1418
1216
1114
1216
1418 11
151317
1419 12
161417
1413 9 11
1416
11
10
9
911
10
9
9
12
12
10
9
11
109
9
13
12
13
12
11
10
11
10
11
10
9
9
9
9
9
9
8
8
7
7
9
9
14
14
12
12
11
10
12
12
14
1411
10
13
12
14
14
16
16
18
17
1413 9 11
1416
20
711
59
9
12 11 10 913 12 11 10
13 12 11 1014 13 12 11
15 14 13 1216 15 14 13 12
7
6
5
4
21
3 6 3
1014
913 10
149
129
127
117
11
913
913 7
116
1059
59
912
711
610
59
912
912
711 9
127
1159
59
811
912
912 7
11 69
10
9
9
810
9
9
7
9
7
7
6
7
6
9
8
9
87
6
6
5
5
4
5
4
9
7
7
6
6
5
5
4
9
7
9
7
7
69
7
7
6
5
4
5
4
8
6
9
7
9
77
66
5
570
25
1114
912
912
711
711
610
610
711
711
610
59
811
912
98
11
9
9
7
9
7
7
6
7
6
6
5
6
5
7
6
7
6
6
5
5
4
8
6
9
7
98
109
1211
1412 11
91211
1412 11
91211
77
96
76
28
1
ss
ss
s ss s
914
712
10 12 14 1512 14 16 17
14 16 17 1916 18 19 21
18 19 21 2321 22 24 26
22 24 26 28 29
10
9
9
7
7
29
3 6 3
712
611
1217
1115
1115
914
914
611
611
914
813
712
712
1115
914
813
712
610
1114
913 11
159
147
127
12
1013
1114
1114 9
141317
7
7
6
6
12
12
11
10
11
10
9
9
9
9
6
6
6
6
9
9
8
8
7
7
7
7
11
10
9
9
8
8
7
7
6
5
11
10
9
911
10
9
9
7
7
7
7
10
9
11
10
11
109
9
13
12
571
33
1317
1115
1115
914
914
813
813
914
914
813
712
1013
1114
1110
13
12
11
10
11
10
9
9
9
9
8
8
8
8
9
9
9
9
8
8
7
7
10
9
11
10
1110
1211
1413
1614 13
121414
1615 14
121514
1414
14161416
Presto
36
10
10 9 79 7 6
9 7 69 7 5
9 7 54
9 7 59 7 5
7 6 47 6 4
7 5 4 7
12 10 912 10 9
11 9 711 9 7
11 9 7
39
2
12
17 16 1417 15 14
16 14 1316 14 12
16 14f.b17 21
1919
1817
17 21
1614 19
1816
1716 19
1412 18
1614
1614 17
f.b12 1614
1413
1212 16
42
f.b
5
9 55
f.b
67
79
f.b7
9 67
7
7 46 0
14161814 16 18
16 17 1916 17 19 21 23 24
9
9 68
98
9 68
68
10 7 10 79
572
45
10
12 10 811 9 7
11 9 710 9 7
10 9 7
f.b7
7 46
76
7 46
46
8 5 8 57 9
10 9 79 7 6
9 7 69 7 5
9 7 5
48
54 7 4
f.b6
44
47
6 9 68
66
69
77
711
99
912
119
1112
10 1311
50
119
99
108 11
9
97
77
97 10
8
86
66
75 8
6
64
4 6
56
4 7
52
f.b97
76
f.b109
97
f.b12
1211
9
f.b1211
99
5
10 9 79 7 6
9 7 69 7 5
9 7 54
9 7 59 7 5
7 6 47 6 4
7 5 4
55
7fr
5fr
5fr
5fr
7
12 10 912 10 9
11 9 711 9 7
11 9 77
10 12 1410 12 14 16 17
141517141617 19 21
17192117 19 21 22 24
79
9
02
25
02
25
02
25
573
Double-handed arrangement
59
Righthand
bars 54-55
Lefthand
79
13
10121619
10121619
10121619
574
Caprice XXII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Hammer-ons and pull-offs
Double, triple and quadruple-stops
Bars 1-50
26-27, 28 FH, 30-31, 34, 36, 39 FH, 42 SH, 44 SH
25, 28 SH, 29, 32-33, 35, 37-38, 39 SH, 40-41, 42 FH, 43, 44 FH, 45-50
1-24
Ossia 40-41, 48
Technical overview
The familiar theme of dividing the caprice into two specific technical areas continues in
‘Caprice XXII’. Bars 1-24 consist of ΠΠΠs and alternately-picked double and triple-
stops. From bars 25-50 a combination of alternate-picking and sweep-picking are used.
The alternate-picking can be further divided into adjacent string motion and string-
skipping.
1 A combination of sweep-picking and alternate-picking occurring in the arpeggios
of bars 25 and 26 are mirrored exactly in bars 29 and 30.
575
576
2 The plectrum motion is reversed on the last two notes of bar 42 and again at the
end of bar 44. This reversal takes place to retain optimal plectrum motion
throughout bars 43 and 44. At the end of bar 44 two sweep-picked Vs effect the
return of the plectrum motion to its initial pattern.
Technical summary
The first half of ‘Caprice XXII’ is dominated by alternately-picked double, triple and
quadruple-stops. However, in the second half alternate-picking and sweep-picking
combinations are more prevalent.
Marcato XXII
f
BEADGBE
14
13
12
12
14
13
13 1312
1513 12
101312 10
91210
1210
108
1312
14
13
12
12
14
13
138
1010
98
76
109
97
109
108
9
p
f
1715
1513
1312
15
17
17
18
19
20
1513
1311
1110
8
10
10
12
12
13
1412
1210
109 17
19
19
20
21
22
1715
1513
1312
10
12
12
13
14
15
15
17
17
18
19
20
20
22
19
20
18
19
19
20
15
17
15
p
12
10
14
12
15
14
14
12
12
10
10
9
1312
151210
108
87
87
6
108
10756
108
86
65
658
868
1088
1412
1210
109
109
12
121012
141212
1210
1513
1312
1312
10
151315
121010
21
Minore
f
p
Fine
1
f
1312
10
151315
121010
131210
121010
119
10
121010
1312
10
58
6
5
8
7
6
5
58
8
75
3
martellato
5
10 8 69 7 6
8 7 58 7
f.b10 9 108 12
12 f.b10
1010 13 12 10
27
1
15 1214
1417 14
13 1010
10 9 7 610
911
1212
14 10 9 10 129
5
10 8 69 7 6
8 7 58 7
f.b10 9 108 12
12 f.b10
1010 13 12 10
577
31
1112
14
11 1012 10 9
12
10
1211 12 11 12
12 11 10 913 12
1013 12 10
12
10
11
10
10
10
10
10
14
10
17
15 14 15
1515
16 17 16 1717
1820
35
13
15
13
14
13
17
13
17
13
17
13
15
13 12 13
1314
14 15 14 1515
1718 8
118
10
8
8
8
8
8
8
8
11
910
913
9
11
9
9
9
12
9
13
39
2
p h p h p
p h p h p
p h p h p
p h p h p
10 9 10
109
1112 11 12
12 9 1210 9 10 9 10 9 10 9 10 9 10 10 11 10 11 10 11 10 11 10 11 10 11 10 11 15 11
1311
13
11
12
11
15
11
15
43
2
12 11 12
12
10
10
13 12 13
13
12
11
12 11 12
10
12
9
12 11 12
10
12
11 10 9 10
12
10
10
10 9 10
11
10
9
10 9 10
11
10
14
10
10
10
10
10
13
578
471.
1.
2.
2.
D. C. al Fine
p h p h p
p h p h p
10 9 10
10
10
15
10
13
15
17
15
22
10 9 10 9 10 9 10 9 10 9 10 9 10
14 12 1014 12 11
13 12 1013 12 10
579
Caprice XXIII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Octaves and single note combinations
Double, triple and quadruple-stops with single note combinations
Double-handed finger- tapping
Bars 1-38
14-15, 36 6-13, 22, 23 B1-B6, 24, 31-33, 34, 37, 38 B1
1-5, 16-18 20-21, 23 B7, 25-30, 35, 38 B3
20-21, 23, 25-28, 35, 38
Technical overview
Although Caprice ‘XXIII’ is dominated by complex sequential ideas and their
development, it can be broken down from the technical perspective into simpler
combinations of alternate-picking. Alternate-picking combined with string-skipping,
sweep-picking, double, triple and quadruple-stops can be found within this caprice.
580
1. The chromatic scales which occurred in bars 7, 9, 11, 12 and 13 as part of the
melody have been arranged four-notes-per-string. However, unlike bars 7 and 9,
the chromatic phrases in bars 11, 12 and 13 are changing incrementally from six
to eight notes. This raises the issue of how to retain timbral consistency
throughout a constantly changing number of notes over a repeated chromatic
phrase. One of the ways to achieve this is to assign a consistent plectrum pattern
to the majority of the bar as has been done in bars 7 and 9. As the chromatic run
expands incrementally in bars 11, 12 and 13, the plectrum motion on the second
note of the chromatic scale alters. This alteration is either reversed though sweep-
picked or alternately-picked notes at the end of the bar, helping to ensure that
each chromatic run is as consistent as possible.
2. To retain optimal plectrum efficiency in bars 8 and 10 string-skipping sweep-
picks are needed in two instances. The first note of each bar is a continuation
from the Π in the previous bar. The second is a smaller skip in the middle of the
bar.
3. All the plectrum alterations in bars 20 and 21 are aimed at getting the Πs to
coincide with the chords intensifying their musical impact. However, in the last
chord in bar 21 Vs can not be avoided unless ΠΠΠs are played in a row. Given
the speed of the notes it is unlikely this could be achieved comfortably. However,
a bracketed note illustrates the preferred option.
4. Bar 26 provides an example of a situation in which the position of the proceeding
notes dictate where the subsequent notes are played. In this case, the first two
581
582
single note descending scalic patterns are the same. The second scalic run is
played in a different position to the first due to the proceeding chord.
5. Retaining an alternate-picking pattern from bars 25 to 28 results in each chord
being played by a Π.
6. Where finger-barrés are used in bar 33 the natural inclination is to sweep-pick
these two notes. Nevertheless, using alternation will optimize the plectrum
motion for the next group of notes.
7. Bar 34 requires a slight alteration at the end so as to allow the first chord in bar 35
to be played with a Π along with the remainder of the chords in that bar.
8. The beginning of bar 36 sees the plectrum strokes after the sweep-picking
arranged so the large string-skips that occur in the second half of the bar and all of
bar 37 are as convenient to play as possible. These replicate the patterns
encountered in bars 22 and 23.
Technical summary
The majority of this caprice utilizes alternate-picking as a means to execute musical
techniques such as octaves and multiple stops. However, sweep-picking is also used to a
limited extent in order to preserve plectrum efficiency.
Posato
XXIII
f
coll'ottava
1
BEADGBE
8
6
8
11
6 8 106
8
6
8
11
6 8 106
8
6
8
11
10
13
12
15
13
16
12
15
15
1810
13
8
11
13
1517
18 18 18 17 16151918 17 16
19 1817
1518
8
2
2
2
2
3 3
11
161515 13 1213
15
13 16 16 1615 141317 1615 14
17 1615
18 1610
15131311 10 11
13
11 14 14 13 12 1115 14 13 12
15
11 14
12
f
14 13 12 1115 14 13 12 11
13
11 14 14 13 12 1115 1413 12
15 14
12
14 11 10
1312
1011
101318
6
8
118
11
6 8 106
8
11
16
Minore
10fr
Fine
f
3
10fr
9fr
8fr
12
15
6 8 106 8 10
15
18
8
8
119
11 10 836
4
5
8
6
55
8 6 58
8
6
85 5
8 6 58
811
10
8
5 4 6 58 6 5
8
583
21
10fr
10fr
10fr
810
9
10 8 710 8 8
10
9
8
10 10 8 710 8 8
10
9
10
7 8 106 8 11 10 8
11 10 8
11
11 10 8
11
1012 8
10
11 10 8
11
11 10 8
11
1012 8
10
23
5
7fr
7fr
1110 8
11
811 9
8
811 9
11
3
04
3 3
10
9
8
10 8 710 8
13
12
12
15 13 1215 13
11
10
13
1013 11 10
13
13 12 1013 12 10
26
4
5fr
5fr
5fr
03
6
8 6 58 6
11
10
10
13 11 1013 11
1013
11
13 11 1013 11
12 10 812 10 8
13
1111
1111
11
10
12 10 812 10 8
13
1111
1111
11
10
12 10 812 10 8
28
13 11
1111
1111
10
1011
1011
911
911
1110
10 8 710 8
13 11 1013 11
910
584
29
decresc
811
13 11 1013 11
13 12 1013 12
1311
1110
10 8 710 8
13 11 1013
910
11
30
811
13 11 1013 11
13 12 1013 12
1311
1110
1013 12 10
13
13 11 1013
1013 12 10
11
31
cresc
1313 11 10
13 11
1013 12 10
1313 11 10
13 12
13 11 1013 12
1013 12 10
1013 11 10
9
32
8
15 13 1115
f.b
1312 10 8
12 1010
1113 11 9
1312 11
13 1011
13 1011 8
1113 9
9
33
6
8
1210
1110
f.b12
12 13 10 13 12
1210
12 9 8
12 13 10 13 1210 11
1311
10 13 1013
10
585
34
7
12
15 16 13 16 1513 15 12 15 13
15 13 1213 12 10
13 12
1213 12 10
13 12 10 913 12 10
13 12 10 911 10 8
11 10
35
7fr
7fr
4fr
12
10
13
1013 12 10
13
8
812
1013 12 10
13
11
10
13
1013 11 10
13
13 1211
13 12 10
36
8
D. C. al Fine
16
1213
1511
1315
17
8
1012
141110 8
11
1110 8
11
1012 8
10
111013
11
111013
11
1012 8
10
111013
11
131110
13
151311
15
161513
16
35
03
3
586
20
Double-handed arrangementbars 20-21
Righthand
Lefthand
81115 10 8 6
10 88
11
13
1510 8 6
10 88
111517
15 14 1615 1316 15 13 8
1014
10 8 710 8 8
101417
10 10 8 710 8 8
1014
15
12 13 1511 13 16 15 13
23 25
R.H bar 23
bars 25-28
L.H
8101417
101417
10 8 710 8
81217
10 8 710 8
11
1018
20 18 1620 18
18 17 1518 17 15
26
R.H
L.H
58
11
13 11 1013 11
11
1015
13 11 1013 11
10
816
18 16 1518 16
17 15 1317 15 13
587
27
316 11 16 11 6
5 17 15 1317 15 13 3
16 11 16 11 6
5 17 15 1317 15 13
28
R.H
L.H
8 621 16 21 16
520 16 20 16 19 16 19 16
65
15 13 1215 13
13 11 1013 11
45
35
R.H
bar 35
R.H
bar 38
L.H
L.H
71017
15 13 1215 13
81217
15 13 1215 13
11
1018
20 18 1620 18
18 17 20 18 1720
16 15 13
16
8101417
3
588
Caprice XXIV: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Sweep-picking string- skipping
Combination of alternate-picking and sweep- picking
Straight alternate-picking
Combined with hammer-ons and pull-offs
Octaves, double-stops and triple-stops
Double- handed finger-tapping
First theme 1-12
1-12
Variation 1
13-24
13-24
Variation 2
25-36
25-36
Variation 3
37-48
37-48
Variation 4 49-60
50, 54, 56, 59-60
49, 51-53, 55, 57, 58
Variation 5 61-72
61-63, 65, 67, 69, 70-71
64, 66, 68, 72
Variation 6 73-84
73-84
Variation 7 85-96
85-96
Variation 8 97-108
97-108 97-108
Variation 9 109-120
110, 112-116, 119-120
109, 111, 117-118
Variation 10
121-132
126, 128, 130-132
121-125, 127, 129
Variation 11
133-141
134, 136, 138, 140
133, 135, 137, 139, 141-142
Finale 142-158
143-146, 148-150
156-157 147, 151, 158
589
Technical overview
590
Caprice ‘XXIV’ incorporates many musical techniques that cover a wide technical spectrum,
including alternate-picking, sweep-picking, hammer-ons and pull-offs, double-handed finger-
tapping and string-skipping. In spite of this, it is arguably one of the least technically demanding
of the Caprices and probably the most often performed.
Theme
The notes are arranged so that minimum linear motion is used. This gives the right hand
maximum control over dampening and note duration whilst reducing the chance of creating
unwanted string noise.
Variation 1
This variation utilizes plectrum efficiency through sweep-picking and to a lesser extent alternate-
picking. The appoggiaturas are played with alternate-picking rather than sweep-picking in order
to encompass the most sweep-picked notes consecutively.
Variation 2
The use of chromatic notes creates some unusual fingering patterns. These are most effectively
overcome with the use of alternate-picking in combination with pull-offs.
591
Variation 3
As in a number of previous caprices, ΠΠΠs in combination with alternate-picking prove to be an
effective way to execute the octaves; the finger spacing remains consistent throughout.
Variation 4
Because of the chromatic quality of this variation the scales have been arranged four-notes-per-
string instead of the more usual three. This, in combination with sweep-picking and finger-barrés,
makes it relatively comfortable to play.
Variation 5
Because of its demanding physical nature, alternate-picking and sweep-picking in combination
with string-skipping is used in this variation. Although the rhythmic pattern remains constant for
the most part, six and seven-string skips occur in a number of bars. This makes optimal plectrum
motion the principal concern within this variation.
Variation 6
As the rhythmic structure of this variation is relatively uniform it is possible to assign a plectrum
pattern to the double-stopped rhythmic motif without placing plectrum optimization at risk.
Alternation in plectrum motion where the intervals of a tenth occur leaves the intervening strings
in need of dampening. Although the physical stretches are not large, the underside of the left-hand
fingers need to be employed to dampen any unwanted string noise.
592
Variation 7
As in numerous other occasions within the Caprices, the conjunct note sequences in this variation
are best played using hammer-ons and pull-offs. The rhythmic structure in this variation can be
grouped into three notes, a constant plectrum motif of one Π followed by a hammer-on and a pull-
off, a pattern which is maintained almost throughout. In this way, timbral continuity can be
retained and the bow strokes of the original imitated. From bars 93 to the end some extremely
demanding string-skipping in combination with hammer-ons and pull-offs are encountered. The
success of this kind of technical combination is the quick and correct positioning of the first finger
on the left-hand. This is vital if the succeeding hammer-ons and pull-offs are to be played
successfully whether they be a tone or semitone removed.
Variation 8
This variation makes use of the harmonic possibilities inherent in the violin. Because of the
extremely demanding nature of dampening strings between notes in the chord voicing, a double-
handed addition has also been added. The initial score makes use of open strings in combination
with alternate-picking wherever possible. This reduces the number of notes that have to be
fingered allowing the performer to concentrate on string dampening. The difficulty of dampening
certain strings becomes apparent in bar 102.
Double-handed arrangement
Variation 8 is the only one in ‘Caprice XXIV’ that has a double-handed arrangement which can
help combat some of the more difficult chord stretches. Moreover, the unused strings between the
593
notes of the chord can create string noise, a factor that is to a degree eliminated when arranged for
two hands.
Variation 9
Although not as extreme as Variation 1, Variation 9 calls for a similar technical approach.
However, unlike the earlier variation alternate-picking plays a more dominant role. Finger-barrés
are of equal importance in this variation due to the chord inversions used.
Variation 10
From a technical viewpoint this variation is arranged in a similar fashion to that of its predecessor,
utilizing alternate-picking in combination with sweep-picking and finger-barrés.
Variation 11
In preparation for the finale this variation is technically more extreme, making use of alternately-
picked double-stops and sweep-picking. It can be broken into two individual sections; the first
made up of alternately-picked double-stops in combination with sweep-picking and alternate-
picking single note melody. As in previous occasions, the sweep-picked single note melody is
accompanied by the use of finger-barrés to help optimize the plectrum motion.
594
595
Finale
This develops the technical elements of Variation 11, incorporating alternately-picked double-
stops and large arpeggiated strings-sweeps. As in the introduction and conclusion to ‘Caprice V’,
the arpeggios increase their range incrementally to build to a climactic point. The issue of
retaining timbral continuity throughout such a phrase requires most of the bars to utilize the same
technique. The notes have been arranged so that in bars 152-155 alternate-picking is only used to
create a maximum spread of sweep-picking or where other plectrum choices have been exhausted.
Technical summary
Each variation has its own technique or combination of techniques giving each its own sound and
timbral quality.
TemaQuasi Presto
XXIV
p
BEADGBE
7 7 7 10 9 79
7 7 11 9 77 7 7 10 9 7
9
7
14 14 14 15 14 1215 12 12 15 14 12
7
12 12 12 14 12 1014 10 10 14 12 10
109 9 12 10 9
97 7 10 9 7
8
8
7
9 79 7
5
Var. 1
13
f
108 12 8
10 54
910
12
7 45 10
8
46
7
12 810
910
12
9
7
1412
f.b
17 1214
1013
1414
16f.b
f.b1212
1010
10 13
19
1210
f.b
15 1012
8 12
1212
14f.b
1010
9 f.b
13 108
8 1212
13 10
12 8
1214 11
109
10
10812 7
8
97 10
7
5
6 7
5
596
Var. 2
25
p
p
p
p
p
87 6 7 6 7 9 107 109 8 9 8 9 7
10 9 87 6 7 6 7 9 107 109 8 9 8 9
7
29
p
p
p
p
1514 13 14 13 14 1215 14 1312 11 12 11 12 14 15 12
1312 11 12 11 12 1014 12 1110 9 10 9 10 12 14 10
33
p
p
p
p
1210 9 10 9 10 710 9
109 8 9 8 9 59 7 109 8 9 8 9
10 96 97 6 7 6 7
Var. 3
37
8
10
5
7
4
6
7
97
9
8
10
5
7
7
96
8
8
10
7
9
12
14
9
11
10
12
12
14
13
15
14
1610
12
12
14
13
15
15
1711
13
12
14
13
15
12
1412
14
10
12
12
1413
15
12
14
9
11
12
14
10
12
597
Var. 4
49
p
14
17 16 15 141817 16 1817 161817
1618
19
14
17 16 15 141817 16 1817 161817
1414
17 16 15 14181715 1417
141415
1415
17
55
12
15 14 13 1216 15 13 12 15
1212 13
1214
15
10
13 12 11 1014 13 12
14
17 16 15 1417 16 14
1514 131216 1514
16
f.b
f.b17
1717
1719
192017
Var. 5
61
10
10
8
9
7
10 9
11
8
12
9
10 10
10
8
9
7
10 9
11
8
12
9
14
18
15
17
14
14 15
14
17
15
18 13
67
12
16
13
15
12
12 13
13
16
14
17 13 15
16
14
15
13
1512
13
11
14
1213 10
13
10
12
9
12 f.b5
8
5
5
7
598
Var. 6
73
f
1312
1210
108
1210
1312
1010
99
1210
109
97
1210
119
1412
1514
1412
1210
119
1312
1211 12
14
12
13
14
15
15
17
17
19
19
21
21
22
23
24
24
25
9
10
11
12
79
8
9
10
10
12
12
8
9
10
10
12
12
8
10
10
12
12
13
9
10
10
12
12
13
10
12
9
10
10
12
9
10
7
8
10
10
12
14
13
12 7
12
101210
12
9119
12 0
Var. 7
85
p
h p h p h p h p h p h
p h p
h p
h p
h p
12 13 1213 10 12 10 12 13 12
13 14 1314 15 14
12
12 13 1213
10 12 10 12 13 1212 13 12
11 12 1112
89
h p h p h p
h p
h p
h p
h p h p h p
h p
h p
h p
12 13 1214 10 11 10
10 12 10
12 13 1213 15 13 10 12 10
10 12 1012 8 10 8
8 10 8
10 12 1012 13 12
13 15 13
599
93
h p
h p
h p h p
h p h p
h p h p
h p
h p
15 17 1513
15 17 15
13 15 1312
13 15 13
15 17 15
12 13 12
12 13 12
9 10 9 10 12 10
10 12 10
10
Var. 8
97
f
1210
0
1514
0
1412
0
1210
0
119
0
79
7
97
7
119
0
1210
0
1514
0
119
0
8
810
7
09
12
9
0
1211
0
1412
0
1614
0
1211
0
1412
0
1210
0
102
10
10
10
10
12
12
10
1013
10
10
10
810
9
8
710
8
8
7
810
9
810
9
1010
10
1210
12
810
9
10
910
10
97
10
99
10
910
8
109
7
97
5
75
5
56
108
7
11
10
10
12
10
10
12
9
9
1210
10
10
Var. 9
109
8 5
9 57
9 57 f.b
79
9
10 7
99
9
8 5
9 57
9 57 f.b f.b
79
9 99
11 7
12 910
911
12 1012
f.b
1310
1010
1012
1310
600
115
10 78
10 79
8 5f.b
78
88
910
78
12 10 910 9 7
10 9 710 8 7
10 8 710
f.b8
10
1010
1112
12 9 109
1012
10
Var. 10
121
p
1717
20 19 17 1619 17 19
1617 22 22
19 20 22 23 2417 22 22
24 21 1720
2123 19
22 20 1922
127
20 20
22 1920
f.b
13 1012
12 10 912 10
13
f.b
13 1012 10 9
912 9 10
910
12 10
1012 10
f.b
21919
2121
17
19
Var. 11
133
f
87
79
87
79
7
645
57
55
f.bf.b
9 1212
119
99 12
12 16 19 24
87
79
87
79
7
69
12
57
10
10f.b
f.b912
1212
1314
1416 12
601
137
7
7
912
9
9
912
9
9
1012
10
10
12
11
1012
f.b13 10 1312
1210
10
f.b
10 13 17 22
710
7
7
710
7
7
810
9
8
10
9
810
f.b12 8 1210
109
8f.b
8 12 15 20
10
910
10
10
910
10
8
79
8
7
6
57
142
Finale
p
6 6
66
66
6
1012
10
10
12
10
912
13
12
913
16
15
1419
f.b12
1210
910 13
f.b1211
99
9 12
f.bf.b
5 87
75
5
f.b
55
57
78 f.b
f.b5 9
77
65
f.b
55
67
79
f.b151817
1715
1415 18
17 22
147
f
p
f
6
66
6
6
9
8
7
7
7
610
10
10
913
13
9
812
12
f.bf.b
5 87
75
5
f.b
55
57
78 f.b
f.b5 9
77
65
f.b
55
67
79
f.b151817
1715
1415 18
17 22
9
8
7
7
7
610
10
10
913
13
9
812
12
152
66 7
7
f.b101412
1211
9
f.b
10911
1212
14 f.b101412
1211
910
f.b
910
911
1212
14 f.b101412
1211
910
9
f.b
12 910
911
1212
14 f.b
f.b10
9 1212
111414
1412
f.b
f.b
171214
141411
1212
14
602
156
ff
5 4 55 57
6
5
603
97
Double-handed arrangementbars 97-108
Right hand
f
Lefthand f
1210
5
1514
5
1412
5
1210
5
119
5
79
7
97
7
119
5
1210
5
1514
5
119
5
81314
71413
1214
5
1211
5
1412
5
1614
5
1211
5
5
1015
5
1217
5
1013
5
1015
1412
5
1210
5
103
R.H
L.H
81014
81215
81317
81014
810
5
1010
6
1210
8
810
5
1014
6
1014
7
1014
5
1014
6
81514
71412
51210
51011
108
12
11
1014
12
1014
12
913
121014
10
158
R.H
ff
bar 158
L.H
ff
57
1014
604
605
Conclusion
Through a systematic process of analysis and technical identification, this study has
demonstrated that Paganini’s 24 Caprices can be effectively transposed to the medium of
the electric guitar.
This thesis addresses the process of transcription by proposing techniques by which it
becomes possible to perform the Caprices and what has an impact on the way the work is
transcribed. Also investigated is how technical strategies created in the original are
adapted in transcription. All this is framed by bringing to bear a variety of perspectives
informed by electric guitar performance and technique.
Once this was satisfactorily achieved, technical identification and analysis was possible.
The electric guitar techniques used in the Caprices were categorized into three distinct
groups; sweep-picking, alternate-picking and hammer-ons and pull-offs. The latter
included finger-tapping in both single-finger and multi-fingered forms, with the method
of note generation responsible for their classification under hammer-ons and pull-offs.
The use of an analysis table allowed each technique to be correctly weighted. This
provided the depth of development necessary to cover the 24 Caprices. Alternate-
picking and sweep-picking were found to be the most prolific techniques, followed by
hammer-ons and pull-offs, with alternative techniques such as multi-finger-tapping,
chicken-picking and finger-picking technique used less frequently.
606
Analysis revealed which techniques appear in relative autonomy and which were
technically interdependent. Both alternate-picking and finger-tapping appeared in
relative autonomy whilst sweep-picking often required an alternate-picking component.
This meant that technical development of alternate-picking and sweep-picking needed to
be concurrent. Despite these overlapping technical areas it was necessary to maintain a
strict chapter division to retain a systematic and logical development methodology.
Within a logical chapter order this allowed a natural progression from the easiest to the
more difficult techniques, whilst preventing information repetition. Moreover, it
provided a smooth technical synthesis at the macro level for techniques that required the
aforementioned degree of concurrency.
Analysis also revealed that each technique could be divided into three different
subsections based on movement, single-string playing (does not apply to sweep-picking),
adjacent string motion, and string skipping motion. These movements were then applied
to both static position and linear motion on the electric guitar neck.
This progressive structure was the basis of the investigation for each chapter, from a
simple single-string static position exercise to the non-overlapping linear sweep-picked
string-skipping of ‘Caprice 1’.
Once the analysis had identified the individual micro and macro elements, a series of
contextually focused exercises was designed. These exercises targeted the individual
physical and musical techniques required to play the Caprices.
607
Although the hypothesis has been shown to be true, it is fair to say that some technical
elements require much more development than others. For example, alternate-picking is
a more “natural” technique to develop on the electric guitar when using a plectrum,
whereas double-handed finger-tapping can be a lot more problematic in both its execution
and development. Therefore the amount of time invested in the development of such
techniques can be prohibitive and depends on the individual's natural aptitude for
technical development.
Summary
The key to combating many of the technical complexities created when adapting music to
an instrument for which it was not written, especially virtuosic music such as the
Caprices, is the development of a systematic technical methodology. The methodology
ranges from transcription and analysis through to the designing of technique specific
exercises.
The far-reaching ramification for future development of electric guitar technique and its
music goes beyond the Caprices for both performers and composers.1
1 One of the main guiding principles throughout the transcription of the Caprices was efficiency and the musical result and resulting technical development were heavily dependent on this methodological factor. However, a similar methodology could be applied to the same music with different parameters, producing a variety of musical results. For example, a different musical result using the Caprices could have been achieved using non-standard tunings and a heavier emphasis on adjacent string movement. This in turn promotes larger linear motion and its associated technical solutions. Application of the same methodology and parameters to other pieces of music with similar levels of virtuosity, such as Eugene Ysaye’s 6 Violin Sonatas Opus 27, would result in different, interesting and progressive technical advancement for the electric guitar. Similarly this methodology can be applied to non-violin music, such as the Bach’s Well-tempered Clavier, which would require a quasi-pianistic approach. The greater the level of proficiency required, and the more varied the musical techniques are within the score, the more profound the resulting technical advancements become. This study provides a basis for future advancements in electric guitar technique.
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