Niccolò Paganini, one of the most striking figures of the 19th century, made many inventions far beyond the violin technique of his time, which have attracted the attention of all composers since then, which they use in their compositions and have taken their place in the literature as the most important techniques of modern violin performance. These innovations brought by Paganini and his unique playing style took the concept of virtuosity to completely different dimensions and fascinated many composers. The most prominent of the works in which Paganini exhibited these characteristics is Caprice 24. Caprice 24, the final caprice of this work, has been described as the most famous and prominent among the other caprices by incorporating many techniques that can be defined as highly difficult in modern violin technique, and many compositions have been produced based on this caprice, and some transcriptions have been arranged to accompany this work. In this study, it was aimed to examine the violin and piano transcriptions of Paganini's Caprice for Solo Violin Op.1, No.24 in detail and comparatively, and to reveal the violin and piano transcription techniques used in the transcriptions within the scope of the research. In this qualitative study, descriptive research methods and techniques were used. The study group of the research was determined by using the maximum diversity sampling method, one of the non-random sampling methods. When the relevant literature was analyzed, it was seen that there are more violin and piano transcription examples for Caprice No. 24 (n=13). For this reason, the study group of the research was determined as violin and piano transcriptions made for Caprice No. 24 and the transcriptions of Eduard Tubin, Fritz Kreisler, Leopold Auer, Mario Pilati and Robert Schumann constituted the study works of the research. Using the descriptive analysis method, the data obtained from these sources were analyzed in terms of the transcription of the works and the techniques used in violin and piano. As a result, it was found that the transcriptions of the violin parts are not significantly different from the original, but the piano accompaniment styles are quite different from each other. In addition, it was observed that Kreisler differed from the others in that he did not transcribe all the variations and wrote his own variations; Auer created a similar difference by composing the last variation himself.

Paganini, Kapris 24, transkripsiyon, varyasyon, keman ve piyano.