Technical combinations

There are a number of observations that need to be made about the co-dependent

relationship between techniques. This study focuses on the separate techniques and how they combine contextually within the Caprices at both the micro and macro levels.

4.6.1 Combination of sweep-picking and alternate-picking

Used extensively throughout the Caprices, the combination of sweep-picking and

alternate-picking is an extremely effective musical tool, so much so that it appears not as separate techniques but rather as a technique subgroup under the main heading of sweep- picking. Wherever triadic harmony is amalgamated with scalic melody, the technical combination of sweep-picking and alternate-picking is most prevalent.

An example of this occurs in the first melody motif of ‘Caprice No. 16’ in bar 1. Figure 11

‘Caprice No. 16’, bar 1

The compositional technique of building complex melody within a strong harmonic framework is the mainstay of the Caprices. This factor explains the regularity in which alternate-picking and sweep-picking combinations arise.

4.6.2 Combination of hammer-ons, pull-offs and alternate-picking

Another technical combination that occurs regularly is that of hammer-ons and pull-offs in conjunction with alternate-picking. Unlike sweep-picking/alternate-picking

combinations in which notes cannot be played unless the techniques are combined, alternate-picking and hammer-on and pull-off combinations can be used as a timbral alternative to plectrum-generated notes. The legato feel of the hammer-ons and pull-offs render them a viable alternative in a variety of different playing scenarios.

Although a plethora of technical combinations are available, they are not always the first option, as in the example below. The initial vibration is created with the plectrum using a down-stroke, with the rest of the notes being played as either pull-offs or hammer-ons. This is one of the fundamental combinations of hammer-ons and pull-offs with alternate- picking. The minimal plectrum use creates a smooth legato string tone if plectrum grip pressure is kept to a nominal level.

Figure 12

‘Caprice No. 22’, bar 40 and 41

One of the by-products of this approach is the ability to retain both picking continuity and string tone consistency by accenting the first note of each group of six with a plectrum

stroke. Another advantage is simplifying the trills execution when played with only hammer-ons and pull-offs, rather than complex plectrum motion. This simplification is one of the numerous advantages of utilizing hammer-ons, pull-offs and alternate-picking in these playing scenarios.

Unlike Figure 12, where plectrum motion was kept to a minimum, the example below illustrates an even balance between both hammer-ons and pulls-offs, and alternate- picking. The combination of the two techniques is needed in this case to more exactly imitate the neighbour-note bow phrases.

Figure 13

‘Caprice No. 10’, bars 5 and 6 Original score

Figure 14 Transcription

One of the advantages of utilizing this kind of combination of techniques is that it can be used to exactly imitate or slightly alter the feel of certain passages. For example, in the violin version the first three notes are played with a single bow stroke and the second

three with a different stroke in staccato form. To better imitate the original, the first three notes are played with one plectrum stroke followed by a pull-off and a hammer-on whilst the second three utilize alternate-picking. By lowering the palm of the plectrum hand onto the strings in combination with alternate-picking, it is possible to more exactly re- create the original attack and intention of the passage.

Imitation is not always the goal in performance and it is possible to utilize the

combination techniques to insert creativity into musical phrasing. The example below illustrates a possible method of playing embellishments such as grace notes. By playing the grace notes with hammer-ons and the strong melody and harmony notes with

alternate-picking, the combination techniques can help to reiterate the note hierarchy. Figure 15

‘Caprice No. 11’, bars 5-6

In contrast to the previous musical example, recreating the exact phrasing did not take precedence over technical and musical creativity.

4.7 Chapter Summary

From the above analysis it is possible to discover a hierarchy of techniques and combinations of techniques allied to the performance style of the Caprices. These discernable hierarchies now usefully become the basis for developing new exercises to prepare for performance.

It can be argued that the degree of autonomy in which a technique appears is directly related to the size of the musical phrase analyzed. Having recognized this argument, alternate-picking and double-handed finger-tapping are the main techniques that occur in relative autonomy throughout the Caprices. Both techniques appear in varied

permutations ranging from alternately-picked multi-stops, to eight-fingered finger- tapping.

The Caprices are musical in nature and often require multiple techniques in different combinations. The ability to combine these techniques is essential as is the ability to fluently change between them. This is due to the frequency with which these

combinations occur. They range from sweep-picking and alternate-picking to hammer- ons, pull-offs and finger-tapping combinations.

As has been discussed, there are a number of reasons why both individual and technical combinations arise. In the case of the Caprices, musical framework dictates the