Revisiting Paganini Caprice No. 10 in One week?

--- Please read me ---
0.00 Intro
0.06 Day 1
3.38 Day 2
5.34 Day 3
8.28 Day 4
10.58 Day 5
14.00 Day 6
15.53 Day 7
Hello, my name is Mimi and I’m just someone who really loves playing the violin!
For so many years, I’ve been thinking about starting UA-cam, but my intensely deep rooted
fear of the cameras and all things related to it have been holding me back...all the way up until about five weeks ago, on a bright and cheery Sunday morning, when I woke up and decided, today is the day, I’m just going to start. So I did! and here I am, uploading this video!
A little background about what I am planning to do on this channel:
I love learning music, and there’s so much that I haven’t been able to learn due to many different reasons. Now, I’ve come to a point where I really want to pursue filling up my repertoire shelf, and I thought, why not document this process for as long as I can and share it, because I’ve noticed that when I watch other musicians practicing or performing online, I become more motivated and inspired, and that’s a pretty nice thing to spread around.
To make this easier to follow, I’ve decided to organize the uploads as projects. For instance, to start all of this off, I’ve decided to go for the 24 Paganini caprices. For this project in particular, I’m setting a one week time frame per caprice, in other words, one caprice per week, and what I’m hoping for is to have the caprice memorized and playable at a reasonable performing tempo, and most importantly, to focus on PROGRESS rather than PERFECTION. This last point is very important, because the fear of not being good enough has time and time again prevented me from doing things I really want to do, and this has in a way limited my capacity as a musician.
Practically speaking, I’m going to document each day, starting with a read through, and then show bits of me practicing which will then be compiled into a video of the 7 days to share with you. I’ll also be sharing my thoughts, and nothing about my learning process will be edited at all because the idea is to acknowledge things as they are. The only thing I have added is some reverb because the acoustic in my apartment is terrible, and this is the only way I won’t go crazy listening to myself.
I have no idea how any of this will turn out. I’m not thinking about whether or not this is an ambitious project or if I’m in way over my head. I’m just going to try my best to commit and see what comes from it and go from there.
As I’m really a beginner about video creation, I’d love to hear your feedback, comments, opinions, criticisms, and of course, any questions, which can all be shared via the comment section down below.
And lastly, for anyone wondering why on earth would I go for the 24 caprices, it's because this project is also something of a little present for my parents, my most avid and loving supporters, who have been asking me to record the 24 caprices ever since I was a kid. I'm not sure how serious they were every time they'd bring it up, but I thought this would make them happy. Love you tons, mom and dad!
Thanks for your time, and I hope you have a fantastic day!
Virtual hugs,
Mimi
Music used in the intro/outro: Golden Hour - Vlad Gluschenko000000000000000

[@wilferviolin]

The best class of Paganini, thanks dear Mimi!!

[@paulmusyk4lyfe51]

I can’t imagine the amount of work this took. By ear it’s quite easy but in practice, no. This and no. 7 are quite challenging. 17:00 this part always cracks me up - Paganini was quite the creative soul. The upward staccato sounds like laughing and the rocking double stops sound like drunkeness

[@DannyVFiddler]

Thanks for your Master Class regards from Ecuador

[@doremeems]

Thank you for watching! 🎶🎻

[@sungwookim9469]

👏👏👏👏👏🥰👍

[@bchill69]

Thanks for the new, up close camera angles!
I'd like to ask, are there things in this caprice (in the left hand) that you find particular to Paganini and therefore awkward compared to what a violinist is used to?

[@doremeems]

I'm glad you like the close up angles!
For me, the most awkward/troubling passages for the left hand were for instance, measures 5-6, 13-14, 33-37, 42-45, and so on. It's not so often that I encounter octave trills, nor so many jumbled up half/whole steps. There are passages like measures 28-31 and measure 20 which felt very natural in the hand, because they followed a certain steadier pattern, such as arpeggios (which most of us are familiar with) and the typical virtuosity found throughout other show pieces (measure 20).
Twisted up/uncomfortable passages are found in Paganini, thrown in here and there, but there are similarly difficult passages scattered throughout works of Wieniawski and Ernst, just to name a few examples.
If you take a look at Ernst's Six grand etudes, you'll find finger breaking things written non-stop everywhere, full of chord/note combinations we don't normally play/practice on a daily basis.
Through this experiment, I'm becoming more familiar with the idea that uncomfortable things will always become more comfortable after spending quality time on them. Each Caprice includes elements which give the majority of us problems initially, but if we patiently address the core of each problem, then not much feels uncomfortable at some point.
I guess Paganini spent so much time experimenting day in and day out, he wrote things the way he did because it wasn't even a matter of difficulty anymore 😂

[@paulmusyk4lyfe51]

8:37 the most excruciating thing when they’re not written in

[@Samlaren]

I was expecting a real catastrophy at the end, that was nothing! You should have been at some of my recitals 😂

[@doremeems]

Ahaha, I was just so shocked :P