Overall Rating: 3.6 (of 5)
Paganini's 24th Caprice Theme
I was taught to study each variation seperately because of their complexity. I will keep with this tradition and post each seperately. Since there is no place in "composer" to display the right hand fingering, I will indicate the essential right hand information in this following paragraphs.
Pay close attention to the left and right hand fingerings plus left hand positioning; paying attention to these aspects will make learning this music easier. For example, I map my music in pencil by writing in both right and left hand fingerings while I am learning a new piece of music. Notate the right fingering using the PIMA system. For those who do not know what the PIMA system is, I will give a brief explanation. P-I-M-A represents your right hand's digits. P=Thumb I=Index M=Middle and A=annular or ring finger. If you have never consciously figured the fingering for classical music you know, then I suggest that this becomes part or your learning ritual. This ensures that you'll learn it right the first time instead of "improvising" the fingering every time. Become comfortable figuring the fingering before you attempt difficult music. You may find it overwhelming if your first attempt at figuring right hand fingering is with a difficult piece of music such as this caprice.
To practice the theme of this Caprice, maintain balance with the volume of accented and unaccented notes. Playing loud will display all those minor errors that may not be heard at a lower volume plus it will improve your right hand strength. Try to play each note as loud as you can, using both rest and free stroke. Try to combine both type of strokes once you have this variation under your fingers and have seperately mastered both the rest and free stroke fingerings. Use rest stroke for accented notes (because this is in 2/4 accent beat one and two) and free stroke for all remaining notes. If you aren't aware of the types of fingerstroke techniques then I suggest you seek a lesson within WN that explains these techniques in detail. Briefly, freestroke is defined as stiking the string freely. Restroke is defined as striking the string and then resting it on the adjacent string. For example, if you are striking a note of the treble E string, your digit will temporarily rest itself on the B string. The movement must be swift and landing on the adjacent string must feel natural.
I don't want to discourage anybody from learning this piece of music; however, if you do not understand or are a novice at using the concepts and techniques involved in playing classical style guitar,I suggest first thoroughly learning these techniques. I will publish a lesson that will deal specifically with these topics when God will give me a free moment.
Good luck and aim for accuracy or you will really be "shredding" this piece of music.