I did receive your book and am enthusiastic to begin studying part of your life's work.
- Ostin Arters
Dear Mr. Shir,
I really like the idea of your book and I think it should get much more publicity so all the violinist out there can benefit from it.. I would like to buy your book but it's a bit pricey for me. Do you do any special students rate or something? I would love to try it.
Thanks a lot. - H.H.
I'm so sorry, but have spent my life working on this technique. For the moment I cannot afford to sell it cheaper. I'm currently working on a beginner book, however.
Please try out the samples, those are free.
I just have received the ordered item from you.
I think that your "Paganini Technique" poses quite a new approach in teaching Paganini Caprices.
I hope it will be helpful in my attempt to master those pieces.
If it was, you would have made me a really happy man because I have never had a good violin teacher and the Paganini Caprices have been always living in my dreams and almost completely out of my skills.
By the way, your mail was travelling less than one week.
I often buy things from the United States, and this was the fastest shipment of an item from California to my country I have ever seen!
Got it already yesterday night when I came home from work, thanks. Compared fingerings with the Flesch edition and noted some interesting differences. I will use your fingerings and bowings and go through all 24 pieces in the order you suggest, but it will certainly take some time. Better not be in a hurry. The ultimate goal is to play them in a way that makes a listener regard each one as a piece of fantastic music and not as an example of technical brilliance.
We highly appreciate and welcome your initiative and congratulate for the publication of your "Paganini Technique 24 Caprices" book.
Surely, this book will be quite useful for the future violinist generation.
We congratulate you again and wish you luck.
Prof. S. Sarajyan, Rector - Armenia
I took my time to explore all the details of your bowings and fingerings and I like it very much. I also went to your website and I saw the huge work that you did. If I can be useful, it would be my pleasure.
Best regards and congratulations,
Hratchia Sevadjian - Canada
Thank you for your message. I am convinced that without enthusiastic people like you,
a classical music would have a hard time to survive.
Wishing you all the best,
Albert Markov - United States
After 40 years as a musician, professional violinist, and teacher of competition winners, I have discovered Gregory Shir’s Paganini Technique.
I played and analyzed his technique. His fingerings are absolute – I cannot change any of them to play the Caprices any better.
I believe this is an important work for all violinists. This is the key to the Paganini Caprices.
Congratulations, Gregory Shir, for your success.”
- Sarkis Bukujian 08/19/09 - United States
Thanks for your response, I'm looking forward
to your book.
I studied in the order you dictate, but I could only play the first and the second and third are very difficult. I wonder if the exercises are for violinists and advanced or intermediate students can be played.
And the other thing is if I can study one day eight, or eight I have to study each day. Thanks for answering my questions.
atte. Miguel de León
Thank you for sending your product the Secret of Paganini Technique, but I have a question, and if I can use these studies as complementary studies to be carried in the hand with a piece by Simon Fischer his three works: Basics, Practice, and Scales.
atte. Miguel de León.
Shir Dear Sir, I salute you from the city of Guatemala, if not too much trouble if you still wish to have information about the book sale paganini technique, and if you can send to my country, and if I could estimate the time will I get when I book.
atte. Miguel Angel de Leon Reyes - Guatemala
I have just received "the paganini technique".
Congratulation for your wonderful and beautiful work.
Just to make sure i have understood right... Do i have to start with caprice 16 then 10, 22, etc?
In the introduction you say:
"It is my suggestion for beginners to break the Caprices into three parts and start learning them eight at a time."
What do you mean exactly by that? Should I study the first eight level 1 Caprices simultaneously?
Would you be so kind to make the issue clearer for me?
I read with great interest about the edition of Paganini capricios am interested in your method and I want to buy it, I just want to know if it is possible to study and achieve a result without tutoring, and if there really is a difference in the original edition, or are in his method additional exercises that enable touch capricios differently and more easily, and this explains in his method?
Thanks for your attention
Awaiting your response
Have you written any essay to prove how and why your publication of Paganini training circle works?
If you have, I would like to click on the link and read them.
I've been playing that 6 caprices for a while. I want to ask is there any other ways that I can use the circle to practice after I make some progress?
I think I've really felt the magic of the circle.
These two days, I slowed down and practiced for quality because I think I've got skills.
The fingerings were so easy to memorize when I really tried to put them in to my brian.
Also, I have a big improvement for the cleaness and accuracy for only 2 days.
I'm much better than what you saw me before 2 days.
I anticipate that I can play at least 12 caprices perfectly for next half month.
THANKS SO MUCH FOR THE BOOK!!! I studied with Daniel Shindaryov for a while when I lived in Los Angeles, so it was exciting to see photos of the two of you together. I have ONE question ... I read and re-read the opening explanations, but couldn't understand what is meant by the order of the "Paganini Technique" numbers... Can you explain what is meant by these?
All my best,
I began working on them LAST night, and am really excited about this!
ONE QUESTION LEFT!
The literature said to begin with Caprice #16 -- which I did, then I
read the email...which makes perfect sense, EXCEPT, as I understood
it, rather than beginning on "Paganini Technique #1" and continuing through the book, it LOOKED LIKE the starting point was Caprice No.
16, which would have me starting on page 23, I believe,
to the end of the book, THEN restarting the book at "Paganini
Technique #1" (also, happens to be Caprice No. 1), and moving from
there to page 22, where the cycle would end...
Is that correct, ...?
Or is the proper order simply to begin at the start of the book, which
would have me playing Caprice No. 16 after playing 8 other caprices
Sorry to be so mixed up!
Thanks again for the book -- it is very exciting to be embarking on
this project, and I'm using the fingerings, naturally.
All my best,
Dear Mr. Shir,
Thank you very much. I have just received the brochure.
May I ask what is in the PAGANINI TECHNIQUE book?
Are there any explanations about the fingerings in each caprice?
Or any notes about the key points of each caprice?
Or how each teachnique should be practiced?
Thank you very much.
Thank you very much.
Meanwhile, I am studying the samples.
I really appreciate your work.
Dear Gregory Shir,
I have read about your new exploration and edition of the Paganini Caprices with interest. Objectively, you do promise a tremendous amount to the diligent violinist. My question for you is this: does your concept of approaching these pieces involve/apply the infrastructure of Paganini’s playing methods, i.e. his way of supporting the instrument and/or hand position and playing posture?
I have a few different editions of the Paganini including the urtext by Accardo in which the different sub-groupings of the the caprices are explained. I have seen the fingerings in samples you provide and think they're quite smart but to speal frankly it's hardly a discovery. The fingerings favor fixed hand positions and finger extentions which is common knowledge.
In any case Paganini had a famous cello pupil by the name of Ciandelli who shortly after having been taught the "secret" by Paganini became a virtuoso. This of course can't be explained by fingerings although the cello is similar.
Interesting your theory about the up bows, I'll have to look into it.