Variations on a Theme by Paganini 
by Erik Carlson


Below are a set of variations on the theme from Paganini's 24th Caprice.
Any set of them can be played in any order.
Tuning-based variations assume that the original Theme is played in 3-limit tuning.
This is an ongoing project.




A single C#
(the only pitch class not found in the Theme)

The Theme played in 1-limit tuning

A pitch halfway between every pair of 
consecutive pitches in the Theme

The Theme played as a 2-voice canon 
with the second voice entering after one measure

The note A4, played with the rhythm of the original Theme,
and with dynamics that follow the pitch-contour of the original
(higher notes = louder volume)

The notes of the Theme arranged lowest to highest,
and within that, shortest to longest

The notes of the Theme arranged from least vibrations to most vibrations
and within that, lowest to highest

Every note and rest of the Theme sustained for the same duration

A single tone with the same number of vibrations as the Theme 

The Theme played at a tempo such that it lasts for one hour

One type of note is selected by the performer 
and only those notes are played
(for example, 16th notes, A4's, slurred notes, 
the first instance of each pitch, etc.)
everything else is rest or skipped entirely

The tempo of each measure adjusted so that
each measure has the same number of vibrations

The Theme played with the prescriptive pattern of 
Frederic Rzewski's "Les Moutons de Panurge"

Each note 1/16th-note longer than the original Theme

An extension of the descending sequence stated in the 5th and 6th measures
of the second phrase of the Theme,
played until it goes below the range of the violin

A chord consisting of only the notes in the Theme with accidentals
(F#4, G#4, D#5, B-flat5)

A variation that is an exact note-for-note replica of the Theme

Beginning with the first note of the second phrase, 
randomly moving either one note forward or one note back
until the total number of notes sounded are equal to 
the total notes in the original Theme

If notes had mass based on their frequency and duration,
a tone at pitch/time of the center of mass of the Theme

If notes had mass based on their frequency and duration,
a tone at pitch/time of the center of mass of each measure of the Theme

A piece of violin rosin equal in weight to the difference in weight
of the violin bow before and after performing the Theme

A verbal description of the Theme

Beginning with the first note of the Theme, 
each subsequent note is determined by a 
Markov process, with probabilities based on 
their actual occurrences in the Theme.
Played until the final note of the Theme is reached

Each rest sounded with the pitch that immediately precedes it,
(with everything else silent)
which is a theme for which the original Theme could be a variation

The performer imagines the Theme in realtime
and plays only a single note

Each note of the Theme randomly raised or lowered one half step