APPLYING THE ŠEVČIK ANALYTICAL STUDIES METHOD TO BARTÓK'S CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER'S GUIDE by MEGAN CHISOM PEYTON

APPLYING THE ŠEVČIK ANALYTICAL STUDIES METHOD TO BARTÓK’S
CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER’S GUIDE
by
MEGAN CHISOM PEYTON
(Under the Direction of Maggie Snyder)
ABSTRACT
Béla Bartók’s Concerto for Viola and Orchestra is a major work in the
instrument’s repertoire, and poses significant challenges to the performer. For several
works of similar stature in the violin literature, Otakar Ševčík wrote analytical studies to
guide the performer through the learning process, essentially providing how-to manuals
for violinists. Though method books and etudes exist for the viola in original and
transcribed form, no published collections equivalent to Ševčík’s analytical studies exist
for any major viola works.
This dissertation addresses the lack of composition-specific preparatory exercises
for the viola with specific respect to Bartók’s Concerto. Moving sequentially through the
work, the most challenging passages from each movement are discussed, and original,
newly-composed exercises in the style of Ševčík’s analytical studies are provided.
Passages are categorized according to difficulty, and references to commercially
available etudes that address similar techniques are provided. Recommendations are
made for the practice of both the provided exercises and the original passages from the
Concerto. Musical examples from the viola parts for both the Tibor Serly and Peter
Bartók/Nelson Dellamaggiore editions of the Concerto are provided for each passage
discussed.
INDEX WORDS: viola, viola technique, viola pedagogy, viola concerto, viola study,
viola etude, Bartók, Bartók Viola Concerto, Otakar Ševčík,
analytical study
by
MEGAN CHISOM PEYTON
B.M., The University of Texas at Austin, 2005
M.M., The University of Georgia, 2009
A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial
Fulfillment of the Requirements for the Degree
DOCTOR OF MUSICAL ARTS
ATHENS, GEORGIA
2013
© 2013
Megan Chisom Peyton
All Rights Reserved

by
MEGAN CHISOM PEYTON
Major Professor: Maggie Snyder
Committee: Mark Cedel

Adrian P. Childs
Electronic Version Approved:
Maureen Grasso
Dean of the Graduate School
The University of Georgia
May 2013
ACKNOWLEDGEMENTS
This document represents the culmination of my academic study, and could not
have been completed without the help and support of many individuals. I wish to express
my sincere gratitude to all of those who have supported and encouraged me throughout
my education, and especially during the process of completing the work contained here.
Many thanks go to Boosey & Hawkes, Inc., who have generously granted
permission for the inclusion of musical examples from Bartók’s Concerto for Viola and
Orchestra.
Heartfelt appreciation is due to the members of my advisory committee, Dr.
Adrian P. Childs and Mr. Mark Cedel, for their efforts in aiding me through the arduous
process of completing my degree and this document.
I cannot possibly express adequately my appreciation of the tireless efforts of
Professor Maggie Snyder. Throughout this process, she has been an invaluable source of
support and help as mentor, teacher, friend, and editor.
Lastly, to David: I could not have done this without your love, support, and expert
work with computer notation software. Thank you.
iv
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ............................................................................................... iv
CHAPTER
1 INTRODUCTION ............................................................................................. 1
Purpose of the Study .................................................................................... 1
Need for the Study ....................................................................................... 3
Methodology................................................................................................ 3
Delimitations ............................................................................................... 4
Review of Literature .................................................................................... 5
2 THE FIRST MOVEMENT ............................................................................... 8
Measures 21 - 23 ......................................................................................... 9
Measures 36 - 37 ....................................................................................... 11
Measures 41 - 43 ....................................................................................... 12
Measures 48 - 50 ....................................................................................... 15
Measures 73 - 76 (Serly edition) and 74 - 76 (revised edition) ................. 17
Measures 88 - 90 ....................................................................................... 19
Measures 102 - 108 ................................................................................... 21
Measures 112 - 119 ................................................................................... 27
Measures 129, 133, and 136 - 140 ............................................................. 30
Measures 160 - 162 (Serly edition) and 159 - 161 (revised edition) ......... 34
v
Measures 162 - 164 (Serly edition) and 161 - 163 (revised editition)....... 37
3 PARLANDO AND THE SECOND MOVEMENT ......................................... 47
Parlando, Measure 11 - End ..................................................................... 48
Measure 29 ................................................................................................ 53
Measures 30 - 36 ....................................................................................... 54
Measures 54 - 55 ....................................................................................... 56
Measures 55 - 57 ....................................................................................... 57
Measures 70 - 78 (Serly edition) and 68 - 76 (revised edition) ................. 59
4 THE THIRD MOVEMENT ............................................................................ 62
Measures 8 - 21 ......................................................................................... 63
Measures 41 - 49 ....................................................................................... 66
Measures 65 - 81 ....................................................................................... 68
Measures 84 - 92 ....................................................................................... 71
Measures 101 - 103 ................................................................................... 73
Measure 263 - End (Serly edition) and 251 - End (revised edition).......... 82
5 SUMMARY AND CONCLUSIONS .............................................................. 85
vi
BIBLIOGRAPHY ............................................................................................................. 87
APPENDICES
A LIST OF PASSAGES DISCUSSED ............................................................... 91
B DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL
EXAMPLES .................................................................................................... 94
vii
CHAPTER 1
INTRODUCTION
Purpose of the Study
For any performer, learning a concerto poses challenges. Though each work
makes its own technical demands of the soloist, many basic principles and approaches
can be applied to learning any composition. One tool that has long been used for such
undertakings is the etude. Often, a performer is able to locate an etude or collection of
such that will provide exercises specific to the skill (s)he is seeking to maintain or
improve. In this manner, a specific skill can be abstracted and practiced away from the
concerto, with the intent of applying the facility gained from etude study to subsequent
work on the concert piece.
In addition to the procedure outlined above, violinists have an invaluable resource
in the output of Otakar Ševčík. Along with his numerous books of general violin
technique studies, Ševčík also constructed analytical studies for several of the standard
works of the violin repertoire.1 In these studies, Ševčík disassembles various passages by
way of providing seemingly simple and accessible exercises (each of which corresponds
to a specific range of measures in the original piece), which are to be mastered before the
corresponding passage in the original work is attempted. Gaining in popularity as of late
1
Analytical studies by Ševčík exist for the following works for violin: Tchaikovsky, Concerto; Paganini,
Concerto No. 1; Wieniawski, Concerto No. 2 and Scherzo-tarantelle, Mendelssohn, Concerto; Brahms,
Concerto (including Joachim cadenza). Full citations appear in the bibliography.
1
in part due to their republication by lead editors Stephen Shipps and Endre Granat,2 these
analytical studies have become of great interest to performers and pedagogues alike.
Béla Bartók’s Concerto for Viola and Orchestra (First Edition, 1950;3 Revised
Edition, 19954) is a staple of the modern violist’s repertoire. Unfinished at the time of the
composer’s death in 1945, Bartók’s Concerto holds a firm place as one of the “big three”
concertos in the canon of standard viola repertoire, along with Hindemith’s Der
Schwanendreher and Walton’s Concerto for Viola and Orchestra. The work is highly
challenging for the soloist, both technically and musically, with the somewhat disjunct
nature of the Concerto providing additional difficulties for the violist in terms of
establishing continuity of performance. Moreover, the consideration of edition selection
must be undertaken carefully when endeavoring to learn the Concerto, as the two most
widely available editions of the work5 vary greatly not just in editorial markings, but also
in melodic content. The intent of this study is to construct analytical exercises, written in
the style and with the organizational principles of the Ševčík collections, which will serve
as an aid in learning and mastering the technical difficulties in both editions Bartók’s
Concerto for Viola and Orchestra.
2
All of the works previously listed have now been republished, along with their accompanying Ševčík
studies. For full citations, see bibliography.
3
Béla Bartók, and Tibor Serly, Concerto for Viola and Orchestra, Op. posth (London: Boosey & Hawkes,
1950).
4
Béla Bartók, Nelson Dellamaggiore, Peter Bartók, and Paul Neubauer, Viola Concerto, Op. posth
(London: Boosey & Hawkes, 1995).
5
Béla Bartók, Nelson Dellamaggiore, Peter Bartók, and Paul Neubauer, Viola Concerto, Op. posth
(London: Boosey & Hawkes, 1995); Béla Bartók, and Tibor Serly, Concerto for Viola and Orchestra, Op.
posth (London: Boosey & Hawkes, 1950).
2
Need for the Study
It is rumored that many teachers and performers have created reference lists and
“cheat sheets” that link specific studies and etudes with isolated passages within concert
works (or even entire movements). However, very little scholarship is extant that
provides players with comprehensive resources of this type. Additionally, there is a
profound lack of published exercises or studies that are aimed at aiding in the learning of
specific passages or pieces of music.
Many etudes exist for violists, both as originals written for the instrument and as
transcriptions from (most often) violin collections. However, though Ševčík’s method
books have been transcribed for viola,6 there are no published collections equivalent to
his analytical studies for any of the major viola works, with the exception of Ross
DeBardelaben’s recent doctoral research, which involves applying Ševčík’s analytical
studies method to Brahms’s Sonata in F minor, Op. 120, No. 1.7
Methodology
Following the points outlined above, this project was completed through
constructing a collection of newly-composed exercises designed to be a preliminary step
to beginning study of the Bartok Viola Concerto, as well as a tool for ongoing reference
and practice throughout the learning process. Following the model of Ševčík’s analytical
studies, exercises were written which correspond to specific passages in the Concerto,
6
Otakar Ševčík and Alan H. Arnold, Preparatory studies in double-stopping: for viola, op. 9 (London:
Bosworth, 1990); Otakar Ševčík and Lionel Tertis, School of technique, op. 1, for viola (London:
Bosworth, 1952); Otakar Ševčík and Lionel Tertis, School of bowing, op. 2, for viola (London: Bosworth,
1956); Otakar Ševčík and Lionel Tertis, The celebrated Ševčík studies, arranged for viola (London:
Bosworth, 1952).
7
Ross Adam DeBardelaben, “Applying the Sevcik approach to selected excerpts from the first movement
of the Brahms Viola Sonata in F Minor” (D.M.A. diss., University of Miami, 2012).
3
with variations included for both the Serly and Dellamaggiore/P. Bartók editions, where
appropriate. In composing the exercises, standard etude books and studies from both the
violin and viola repertories were consulted for reference and model.
The collection of etudes contains exercises that move systematically and
sequentially through the Concerto, with the original passages (excerpted from both
editions) provided for reference.8 Passages are categorized with respect to difficulty, with
Level 1 being the least difficult, followed by Levels 2, 3, and 4. Instructions are given for
each exercise as to how it should be played, along with suggestions for variations. To
further address techniques required of the performer in these passages, references to
additional related exercises (in other method or etude books) are offered in Appendix A.
Delimitations
Though the Bartók Viola Concerto is challenging as a complete entity, this
document does not address nor provide exercises for every measure. The more
challenging and awkward passages are addressed, with the less demanding passages left
to the performer’s individual approach. Though there are passages in the Concerto that
are demanding in terms of bowing technique, the primary focus here is on addressing
left-hand technical challenges; only the most challenging bowing passages are addressed.
Finally, the exercises provided are intended to provide both concrete and abstract
strategies for preliminary practice of those passages discussed herein. However, it is left
to the individual player to devise a practice strategy for transferring mastery of the
exercises to the original passages in the Concerto. As the level of difficulty of the etudes
8
Excerpts from the viola parts of both editions of the Concerto are included in this document with the
generous permission of the publisher, Boosey & Hawkes. Documentation is provided in Appenidix B.
4
provided here differs between passages, the size of the gap between technical mastery of
the etude and readiness for performance of the original Concerto passage will vary across
passages and players.
Perhaps most important is that despite the inclusion of original excerpts and
alternate exercises for both the Serly and Dellamaggiore/P. Bartók editions of the
Concerto, this study does not address the fundamental issues that arise in examining the
two editions and their differences from either a theoretical or musicological perspective;
interest in the variation between the editions lies solely in an effort to provide the most
comprehensive tool possible for the performer, regardless of which edition is chosen.
Finally, in contrast to the Ševčík analytical studies, this project will not include a newly
edited performance edition of the Concerto as a whole. The present study seeks only to
provide studies that relate to the two main editions in current publication.
Review of Literature
In conducting research regarding etude collections of the nature discussed above,
it quickly became clear relatively few publications exist that specifically address the
goals of this study. The Ševčík analytical studies are, in addition to serving as models for
the etudes contained here, the most salient and comprehensive works available that relate
to the subject of exercises constructed for specific use with a single composition.
However, several other sources were helpful in completion of this collection, including
the prefaces and editors’ notes for both the Serly9 and Dellamaggiore/P. Bartók10,11
9
Béla Bartók and Tibor Serly, preface to Béla Bartók and Tibor Serly, Concerto for Viola and Orchestra,
Op. posth. (London: Boosey & Hawkes, 1950).
10
Peter Bartók and Nelson Dellamaggiore, preface to Béla Bartók, Nelson Dellamaggiore, Peter Bartók,
and Paul Neubauer. Viola Concerto, Op. posth. (London: Boosey & Hawkes, 1995).
5
editions of the Bartók Viola Concerto, and Donald Maurice’s recent book on the
Concerto.12 Though it predates Maurice’s book, Stephanie A. Asbell’s doctoral treatise13
provides a comprehensive discussion on the differences between the published editions of
the Concerto. That document proved very useful in easily determining which passages
are significantly different to warrant the construction of separate exercises. Additionally,
several books about viola playing and by violists include writings on approaches to
learning difficult works and helpful references to specific studies for the same purpose.
The most useful of these were those by Dalton,14 Dolejsi,15 and Riley.16 Ševčík’s other
method books17 are also invaluable resources, as they provide even greater context for
Ševčík’s approach to violin (viola) study in general, and models for the construction of
the analytical exercises.
I also examined many viola method books in my search for pertinent material.
Ulisses Silva’s D.M.A. dissertation,18 which catalogs viola publications of this nature,
was quite useful in this undertaking. It has been noted that, in contrast to the wealth of
material to violinists, the canon of viola literature lacks extensive method books to
address all stages of the player’s development. This phenomenon, with specific respect to
11
Paul Neubauer, Editorial Notes from Béla Bartók, Nelson Dellamaggiore, Peter Bartók, and Paul
Neubauer. Viola Cconcerto, Op. posth. (London: Boosey & Hawkes, 1995).
12
Donald Maurice, Bartók's Viola Concerto: The Remarkable Story of His Swansong (Oxford: Oxford
University Press, 2004).
13
Stephanie Ames Asbell, “Béla Bartók's Viola Concerto: A Detailed Analysis and Discussion of
Published Versions” (D.M.A. diss., University of Texas at Austin, 2001).
14
David Dalton and William Primrose Playing the Viola: Conversations with William Primrose (Oxford
[England]: Oxford University Press, 1988).
15
Robert Dolejší, Modern Viola Technique (New York: Da Capo Press, 1973).
16
Maurice W. Riley, The History of the Viola (United States: s.n., 1991).
17
Otakar Ševčík and Alan H. Arnold, Preparatory studies in double-stopping: for viola, op. 9 (London:
Bosworth, 1990); Otakar Ševčík and Lionel Tertis, School of technique, op. 1, for viola (London:
Bosworth, 1952); Otakar Ševčík and Lionel Tertis, School of bowing, op. 2, for viola (London: Bosworth,
1956); Otakar Ševčík and Lionel Tertis, The celebrated Ševčík studies, arranged for viola (London:
Bosworth, 1952).
18
Ulisses Carvalho Da Silva, “Original and Transcribed Etude Books for Viola: A Reference Guide for
Teachers and Students” (D.M.A. diss., University of Georgia, 2010).
6
the Bartók Viola Concerto, has been researched and documented in Minor Wetzel’s
dissertation.19 As mentioned above, no viola studies are widely available that specifically
address the technical concerns of any single major work in the repertoire, though
DeBardelaben’s recent work20 appears promising.
19
Minor Lewis Wetzel, “A Better Bartók: Dilemmas and Solutions in Performing Bartók's Viola Concerto”
(D.M.A. diss., University of California – Los Angeles, 2010).
20
7
CHAPTER 2
THE FIRST MOVEMENT
The first movement of the Bartók Concerto is possibly the most demanding of the
work’s three movements due to the sheer variety of techniques required of the violist. As
when learning any advanced musical selection, practice for this movement should be
undertaken in a methodical and deliberate manner in order to master the material quickly
and efficiently. The primary technical challenges that occur most often throughout this
movement include shifting, double-stop intonation, and left-hand finger pattern
recongnition and placement. Aside from these technical hurdles, the musical aspects of
the Concerto’s first movement must also be addressed in practice; musical choices must
inform technical ones, and vice versa. This comes to light especially in lyrical passages
that involve challenging shifting, such as measures 73 - 76 in the Serly edition or
measures 74 - 76 in the revised edition (Figures 2.14 and 2.15, respectively). In this
passage, it is important for the player to consider the ultimate desired effect of the shifts
(i.e. audible? inaudible? with portamento?) in performance when initially learning the
measures.
The passages discussed in this chapter represent the most daunting of the first
movement’s material. As noted above, the variety of techniques required in the
movement is vast. Therefore, the passages discussed here represent many different
aspects of viola playing and preparation that are required for performance of the
8
Concerto. The provided exercises are equally diverse, while still maintaining an
analytical approach to each passage. As this movement comprises roughly half of the
Concerto, the number of passages included in this chapter is significant.
Measures 21 - 23
Viola Concerto, SZ120 by Bela Bartók, completed and orchestrated by Tibor Serly
© Copyright 1949 by Boosey & Hawkes, Inc. (Viola and Piano)
© Copyright 1950 by Boosey & Hawkes, Inc. (Full Score)
Reprinted by Permission.
Figure 2.1. Measures 21 - 23, Serly edition.
Viola Concerto, SZ120 (Revised Version) by Bela Bartók, new version by Nelson Dellamaggiore
& Peter Bartók
© Copyright 1995 by Boosey & Hawkes, Inc.
Figure 2.2. Measures 21 - 23, revised edition.
Difficulty Level: 2
This passage presents difficulty mainly in the execution of different left-hand
finger patterns. Changing between perfect and diminished fifths can make it easy for the
9
fingers to get tangled with each other. Achieving good intonation is of utmost importance
in this passage, since the quick arpeggiations almost make the pitches sound as though
they are being played together. The exercises below should be practiced slowly, with
great attention given to intonation. Fingers should remain down as much as possible: each
two-beat grouping employs a single finger pattern, which should be set before beginning.
To play the G-natural at the end of each two beats, use the open string. This facilitates
resetting the hand for the next two beats.
mm. 21-23 (Serly)

bœ œ œœ bœ œ œœ
b œ œ œ œ bœ œœ œ œ b œ œ œ œ bœ œœ œ œ
B (Serly)bœ œ œ bœ œ œ Ó
A
mm. 21-23 bœ nœb œ nœ b œ nœb œ nœ b˙
bœ œ œ œ œœ bœ œ œ œ œœ
b œ œ œ b œ œ œ b œ œ œ b œ œ œ
A B bbbœœ œ œ
œ nœb œœœ œ nœ b œ œœ nœb œœœ œ nœ b˙ Ó
b œ œ b œ œ b œ œ b œ œ
B Bb œ nœb œ nœ b œ nœb œ nœ b˙ Ó
bœ œ œ œ bœ œ œ œ
bœ œ œ bœ œ œ
b œ œ b œ œ b œ œ b œ œ
B Bb œ nœb œ nœ b œ nœb œ nœ b˙ Ó
Figure 2.3.(ND/PB)
mm. 21-23 Exercises A and B for measures 21 - 23, Serly edition.
b œ œ œ œ bœ œœ n œ b œ œœ b œ œ œ œ bœn œœ n œ b œ œœ
A B bbœœ œ
mm. 21-23 (ND/PB)
œ nœb œ nœ bbœœ œ œ nœb œ nœ b˙ Ó
bœ œ œ œ œnœbœ œ bœ œ œ œ nœnœbœ œ
b œ
b œ œ œ œ b œ œ
b œ œ bbœœ œ œ œ b œ œ œ
A B bbœœ œ j
nœbnœ b œ œ nœ bb œœ œ nœbn œœbb œœ œj nœ b˙
œ Ó
B B bbœ œ bœ bœ bœ œ bœ bœ Ó
œÓ nœb œ nœ b œÓ nœb œ nœ b˙
bœ œ œ bœ j bœ œ œ bœ j
bœ œ nœb œ œ bœ œ nœb œ œ
Bmm.B b œ œ b œ b œ b œ œ b œ bœ Ó
b œÓ(Serly) nœb œ
88-90 nœ b œÓ nœb œ nœ b˙
œ œ œ
B bœœ nnœœ œ bœœ bœœ nnœœ œ œœ bœœ nnœœ œ œœ œ
Figure 2.4. (Serly)
mm. 88-90 Exercises A and B for measures 21 - 23, revised edition. œ bbœœ
b œ œ bnnœœœb œ œœœ œ œ b œ bbœœ n œnbnœœ b œ œœ b œ bœœ n œbbœœ b œnnœœ œœœ œ b œœ

B
B nœœœ œ œ bœœ œ œ œ œœ œœ œ‰ œ Jœ œœ
nœ œ nœ nœ bbœœ
œ œœ b œ b œœ œ œ œ b œœ b œ n œœ b œ b œ œ b œœ b œ n œœ b œ b œ œ œœ œ b œ
mm.B88-90
nœ (ND/PB) nœ nœ nœ J
nœ œ n œ œœ nœ œ
B bœœ nœ œ bœœ bœœ nœ 10 œœ bœœ nœ œ œœ œ
œ bbœœ
mm. 88-90 (ND/PB)
n bœœ œ œœ b œ n œnb œœ œ b œ n œ b œ n œ œ b œ
Measures 36 - 37
& Peter Bartók
Difficulty Level: 3
Shifting is the primary concern in this passage, though attention must also be
given to half-step intonation. Since intervals become physically smaller at the top of the
viola’s range, the latter becomes increasingly difficult as pitch rises. The exercise below
should be practiced slowly, with glissando shifts where indicated by dashes. As the shifts
are mastered, speed may be increased in order to attain the facility necessary to execute
11
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
I 3 1 1
1 4 1 1 3 1 1 1 1 1
& w*
0
* Drone; play throughout
the Concerto passage. This example may be practiced both as written and in reverse in
order to gain an even better grasp of the shifts and intervals.
mm. 36/3-37/2 (Both)

#œ b œ #œ b œ œ œ # œ b œ # œ # œ œ
bœ œ
3
œ
2 3
œ œ #œ œ
2 1 1 1
1 2 3
B œ œ œ œ
3 4 1
3 1 3 1 1 1 1 1 2
&
Figure 2.7. Exercise for measures 36 - 37.
Measures 41 - 43
12
& Peter Bartók
Difficulty Level: 2
Both this passage and the one following require careful attention to finger patterns
within the left-hand frame, as well as the flexibility to extend the first to fourth finger
reach beyond the interval of a perfect fourth. Bartók makes regular use of the whole step
throughout this passage, usually in three note groupings (either ascending or descending)
followed by another three note grouping that begins one half-step beyond the end point of
the previous group and reverses direction. These three note cells are chained together to
form the complete passage, which slowly ascends in pitch. It is useful to practice the
alternating groupings, as doing so gives a clear picture of how the hand moves by a
whole step shift upwards at the beginning of each set of two cells.
The exercises below should be practiced with the goal of maintaining the hand
frame and finger pattern throughout: four notes are played, the entire hand is shifted up
one whole step, and the fingers are automatically in place for the next group of pitches.
13
Every fourth grouping breaks this mold, and requires extension of the left hand frame in
order to execute the tritone interval between the outer pitches of the group. This should
be achieved either by arranging the fingers in a pattern of consecutive whole steps
(“reaching” the interval) or by pivoting the hand at the second finger in order to reach the
mm. 185-189 (Serly)
pitches that form the tritone.
œ œ bœ #œ œ b œthat the player
& œ œ #œ nœ œ #œ nœ œ
In addition to working Exercises A and Bœas written,
œ b œ œ œ #œ
it is suggested
#œ nœ
nœ œ
practice setting
1 4the hand
1 —2
1 through
4 silent
1 finger-placing:
1 4 0 put
1 all41 fingers
0 2 –(2)down
–3 3 for
– (2) –each
2 1
II 1 2 II 1 — 4 II I II
bracketed group of notes, as is fingering a quadruple-stop. Then move on to the next

mm. 183-187 (ND/PB)
bracketed set. This may be done slowly at first, but the tempo should be increased to
nœ bœ #œ
nœ œ #œ
match the nspeed
& œ œ #œ nœ œ #œ nœ
with which the hand will œ
need toœbe moved
b œ b œ œ
for
#œ
executing
nœ œ
the actual
œ n œ
passage. 1
II
4
1 —2 1 4
1 —2
1 1
II
4
1
2
II
1 4
1 0 2 0
4
4 2 1
1
III
b œ bœ#œ
mm. 41-43/1 (Both)
nœ œ œbœ #œ œ
A B œ #œ œ œ œ œ œ œ œ#œ œ œ#œ#œ &
œ œ œ œ œ œ#œ œ œ
0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1 0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1
b œ œ œ œ œ œ#œ œ
B B œbœ Œ œ œbœ œ œ œbœbœ Œ œ œbœnœ œ œ œ
bœ n œ œ œnœ
3 2 1 4 3 2 1 4 3 2 1 0 1 2 3 3 2 1 4 3 2 1 4 3 2 1 0 1 2 3
mm. 48-50 (Both)

#œ œ œ
Figure 2.10. Exercises A and B for measures 41 - 43.
œœœ œœœœ œœœ œ œ bœ bœ
A & Œ Œ Œ Bœ œ œ Œ œ œ œ Œ Œ œ
#œ# œ # œ #œ# œ œ
& Œ Œ #œ Œ B
#œ Œ #œ#œ Œ bœ bœ bœ œ œ œ#œ#œ
B œ#œ #œ
14
Measures 48 - 50
& Peter Bartók
15
œ 1 (Serly) bœ #œ
Difficultymm.
Level:
œ œ bœ
185-189
œ theœmeasures
&As in #œ nœ 41 œ œ œ b œ
œ -#œ43,nœthis passage necessitates œ œ #œ of the left
#œ nœ
nhand
œ œ
stability
1 4
—2 1 4 1 1 4 0 1 4 0 – –3
2 (2) 3 – (2) – 2 1
II 1 1 —2 II 1 1 4
frame as well as the maintenance of whole-step finger patterns within
II
the
I
frame.
II
However, mm. n œ to thenprevious

183-187 (ND/PB)
œ b œplayer is not# required
œ to œnavigate the
in contrast passage, the
œ œ bœ bœ œ #œ
& nœ œ #œ nœ œ #œ nœ #œ nœ œ
œ of difficulty.
reach of a tritone in this example, eliminating a degree
n œ Once again, the
1 4 1 4 1 1 4 4 2 0 4 2 1
II 1 —2 1 —2 II 1
2
II
1
1 0 4
given exercises should be approached with the greatest attention given to the stability of 1
III
the left hand finger (Both)

pattern and frame. Each grouping should be treated as a unit; the hand
b œ bœ#œ
mm. 41-43/1
B œ
nœ
œ œ œ œ œ#œ œ œ#œ#œ œ & œbœ #œ œ
œ
œ œ œ#each
œ rest. #œ œ
œ œ Note that the five pitches beginning with G-flat near the
œ œ œduring
A
should be reset
0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1 0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1
œ œ#œ œ
end of the second exercise routinely prove difficult for intonation purposes, likely due to
b œ œ œ œ
B consecutive
B four
the Œ
œbœb œ œ whole œ œ21œnœ œ
œbœn œ steps.
œbœbœ Œ œ œbœnœ œ œ œ
3 2 1 4 3 2 1 4 3 2 1 0 1 2 3 3 2 1 4 3 2 1 4 3 2 1 0 1 2 3
mm. 48-50 (Both)

#œ œ œ œœœ œœœœ œœœ œ œ bœ bœ
& Œ Œ Œ Bœ œ Œ œ œ œ Œ Œ œ
A œ
#œ# œ # œ #œ#œ# œ œ#œ#œ œ

& Œ Œ Œ Œ Œ b œ œ œ
œ#œ#œ #œ#œ#œ bœ bœ
B B
Figure 2.13. Exercises A and B for measures 48 - 50.
21
Though I have no proof of this, I would assert that the intonation over these five notes proves difficult
because most classically trained (western) players are not used to hearing four whole steps in succession.
The prominence of the major scale -- especially as opposed to the whole tone scale -- in western music
seems to work its way into the ear in this passage, making it easy to hear the D-natural at the end of the
group as “wrong,” in favor of a D-flat.
16
Measures 73 - 76 (Serly edition) and 74 - 76 (revised edition)
& Peter Bartók
Difficulty Level: 2
Shifting and high-position intonation are the primary causes for concern in these
measures. The exercises should be practiced with glissando shifts where indicated by
dashes, with careful attention to shifting the whole hand in half-step shifts. The section of
the passage addressed in the final line of each of the exercises below poses significant
17
difficulty in achieving good intonation, in large part due to the high range and expanding
intervals. An open-D string drone is employed at that point in order to provide a pitch
reference for maintaining focused intonation.
Serly: Mvmt. 1, mm. 73-76
œ œ œ #œ œ œ œ œ œ
œ œ #œ œ œ œ œ œ œ œ #œ œ
1 1 2 1 2 1 1
& œ œ œ œ
Serly: Mvmt. 1, mm. 73-76
œ œ nœ œœ œœœ œœ #œ œœ
1 1 2 1
œ œ œ #œœ œ œ œ œœ œœ 2 1 1
& œ œ œ œ #œ
œ œ œ #œ œ œ
œœ œœ œ #œ #œ
4 2 3 1 2
4 2 3 2 2 1 1 1
2 2 3 2 2 1
&
œ œ nœ œ œ œ œ œ##œœ œœ œ œ œ œ
œœ œœ œœ œœ œœ ##œœ œ#œ œ # œ œ œœ œ n œœ
4 2 3 1 2
4 2 3 2 2 1 1 1
œ œ œ œ œ
2 2 3 2 2 1 3
3
&
3 3 3 3 3
2 1 1 1 1 1
1 1 1 1 1
&
œ œ œ wœ œ # œ œ œ # œ œ œ wœ n œ œ œ # œ œ œ œ œ
3 3
3 3 3 3 3
2 1 1 1 1 1
1 1 1 1 1
&
ND/PB: Mvmt.w1, mm. 74-76 w
Figure 2.16. Exercise for measures 73 - 76, Serly edition.
œ œ œ œ œ
nœ œ œ nœ #œ œ #œ œ œ œ œ œ œ œ œ œ # œ
4 2 3 1 2
œ
4 2 3 2 2 1 1 1
2 2 3 2 2 1
& ND/PB: Mvmt. 1, mm. 74-76

n œ œ œ #œ œ #œ œœ œ œ œ œ œ œœ œ œ œ # œ# œ œ œ œ œ œ œ
4 3 2
nœ
2
œ œ # œ
1
œ nœ œ œ œ œ œ
3 1 1 1
œ œ œ
4 2 2 2 3
#œ œ
2 32 3 2 3 2 3 3 1
3 3
&
2 1 1 1 1 1
1 1 1 1 1
&
œ œ œ wœ œ # œ œ œ # œ œ œ wœ n œ œ œ # œ œ œ œ œ
3 3
3 3 3 3 3
2 1 1 1 1 1
1 1 1 1 1
& Mvmt. 1 w w
129
&2.17. w œ 74 -œ76, revised #œ

#œ Exerciseœ for measures œ edition.#œ œ
Mvmt. 1
Figure
129
& #w
œ œ œ œ œ #œ #œ œ
18
Measures 88 - 90
& Peter Bartók
Difficulty Level: 3
Measures 88 - 90 likely require some of the most tedious fingering strategies in
the entire Bartók Viola Concerto. Since the pitches are arranged in an arpeggiated
fashion, there is little time for shifting of the fingers. The perfect fifths stacked above
19
bœ œ œ bœ œ
A B b œ b œ œ nœb œ œ œ nœ b œ b œ œ nœb œ œ œ nœ b˙
mm. 21-23 (Serly)
œ Ó
B b œ œ œ b œ œ œ
A b œb œ œ nœb œœ œ nœ bb œœ œ nœbœœ œ nœ b˙ Ó
bœ œ œ bœ œ œ
B
tritones b
areœ somewhat œ bœ
difficult œ of
in terms b œ œ
intonation, bœ the real œchallenge lies inÓ
but
B b œ b œ œ nœb œ œ œ nœ b œ b œ œ nœb œ œ œ nœ b˙
b œ œ in a way œ b œneed œ
œ for hand position
B
arrangingb œthe fingersœ bœ thatœlimitsbthe œ œ bœ œ changes or leftÓ arm
B bœ nœb œ nœ b œ nœb œ nœ b˙
acrobatics. For those with thin fingers, this can be quite an undertaking. The exercises
mm. 21-23 (ND/PB)
œ n œapproaching
b œ œ œto œencourage bœ œ bthis œ œ as naœseries
œ œpassage n œ b œ of
œ double-stops and
œ bœ œ œ bœ œ œ bœ œ œ
below are designed
B bbœœ œ
mm. 21-23 (ND/PB)
Ó
A b œ œ nœb œ œ œ nœ b œ b œ œ nœb œ œ œ nœ b˙
œ sets,œwith
b œ œ œpitch
stationary - moving n œ b œattention
œ b œ œ toœ those
drawn œ times n œ n œwhen
b œ œ one or more
B b œ œ œ b œ œ œ b œ œ œ b œ œ œ Ó
A b œ
b œ œ nœ b œ
œ b œ j nœ b bœœ œ n œb œ œ b œ j nœ b ˙
fingers canbremain
œ œ stationary. n œ b When
œ œ fingersb must œ œ be lifted, n itœ bshould
œ œ be done as quickly
B B bbœ œ b œ b œ bœ œ b œ bœ Ó
œ
Ó b œ œ nœ b œ œ
and with as little motion as possible.jb œ nœ b œ
Ó b œ œ n œb œ œ b œ jnœ b˙
bœ œ nœb œ œ bœ œ nœb œ œ
B Bb œ b œ œ b œ b œ b œ œ b œ bœ Ó
Ó nœb œ nœ b œÓ nœb œ nœ b˙
mm. 88-90 (Serly)
nœ œ nœ œ nœ œ
B bœœ nœ œ bœœ bœœ nœ œ œœ bœœ nœ œ œœ
mm. 88-90 (Serly)
œœ bbœœ
nœ œ nœ œ nœ œ
B bœœ œ bnœœb œ œœ œ bœœ b œ bœœ n œ bnœœb œ œ b œ bœœœ n œbœœœ b œ nœ œ œœ b œœœ œœ bbœœ
B nœœ œ œ œ œ œ
nœ
œ œ œ
nœ
œ œ
n‰œ J
œ bœbœ œ œ bœ bœnœbœbœ bœ bœnœbœbœ œ œ bœ
œ œ
B nœ (ND/PB) œ œ œ œ œ œ œ œ
‰ œ J
mm. 88-90 nœ nœ nœ
n œ œœ n œ œœ n œ œœ
B b
mm. 88-90
œ n œ
œ (ND/PB) œ
bœ œ b œ n œ œ
œ œ nœ b œ œœ œœ bbœœ
n œ œœ n œ œœ n œ œœ
B œ b œ b œ œ œ bœ b œ bœœ n œ b œ œ b œ b œ n œ b œœ œ nœ n œ n œ b œ œœ
b œ nœ œ œ b œ n œ œ b œ œœ bbœœ
B nœœ œ œ nœ
œ œ œ œ œ œ
nœ
œ œ
nœ J
bœ bœ œ œ œ bœ bœnœbœ œ bœ bœnœbœ œ nœnœ bœ
B nœœ œ œ œ œ œ
nœ
œ œ œ
nœ
œ œ
nœ
J
Figure 2.21. Exercise for measures 88 - 90, revised edition.
20
Measures 102 - 108
21
& Peter Bartók
Difficulty Level: 3
The difficulties of this passage are many, with the most notable being the high
position and the numerous perfect fifths, which must be fingered as double-stops due to
the fast tempo.22 Though perfect fifths may not pose much of a problem in lower
positions, the task of producing a fifth with good sound with clear intonation in fourth or
22
In this passage, “hopping” the finger from one string to another is not practical, so both pitches of the
perfect fifths must be stopped simultaneously.
22
fifth position (or higher) is a challenge due to string height and the increased distance
between the strings. In addition to the fifths, achieving good overall intonation in this
passage is a challenge. In order to execute this passage effectively, the player must treat
each harmony (each beat or pair of beats) as a single unit and set the left hand
appropriately. The exercises below are designed to encourage this approach, while also
dividing each chord into its component double stops in order to give focused intonation
practice. Practice should be slow, with limited movement of the fingers. If at all possible,
fingers should remain rounded while playing the fifths; collapsing the finger in order to
stop both strings should be avoided if at all possible.
Serly: mm. 102-108

œ œ œ œ œ œ #œ œ œ
#œ #œ œ œ #œ œ œ œ œ
A & #œ œœœœ œœ #œ œ œ œ œ
œ œ œœ œœ
œ œ œ œ œ
#œ œ #œ œ œ
& #œ œ œ œ œ
œ œ œ œ œ
œ #œ œ œ œ œ
& #œ Œ œ œ #œ œ œ
#œ #œ œ œ œ œ
œ #œ nœ #œ nœ #œ
#œ œ œ œ œ
& #œ #œ œ
œ œ
œ œ
œ œ
œ
nœ #œ nœ #œ nœ
œ #œ #œœ #œ œ œ œ œ œ <#>œ œ #œ
3
& #œ
# œ œ ##œœ #œ œœ #œ #œ
#œ
œ œ A for measures
œ œ 102 - 108, Serlyœedition.
œ #œ œ œ
#œ
Figure 2.24. Exercise
#œ œ œ #œ œ œ œ œ
B & #œ œ œ œ #œ œ œ œ œ
œ œ œ œ œ
& #œ œ #œ œ œ
#œœ œœ œœ œœ œœ
œ #œ œ
& #œ #œ Œ œ œ
23 #œ œ œ œ œ œ
œ #œ œ œ œ œ
#œ nœ #œ nœ #œ
3
& # œ #œœ #œ œœ #œ
#œ #œ #œ #œ
œœ œœ œœ #œ œ œ
B & #œ œœ œœ œœ #œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ
#œ œ #œ œ œ
& #œ œ œœ œœ œœ
œ œ
œ #œ œ œ œ œ
& #œ #œ Œ œ œ #œ œ œ
œ #œ œ œ œ œ
#œ nœ #œ nœ #œ
#œ œ œ œ œ
& #œ œ œ œ œ
#œ œ œ œ œ
nœ #œ nœ #œ nœ
3
& # œ #œœ #œ #œ œœ #œ #œ
#œ #œ
Figure 2.25. Exercise B for measures 102 - 108, Serly edition.
œ œ œ œ œ œ #œ œ œ
#œ œ #œ œ #œ œ œ œ #œ œ œ œ œ œœ œ œ œœ œ œ œœ œ
C & #œ œ œ œœ œœ œ œ œœ #œœ œ œ œ
œ œ œ œ œ
œ œœ œœ œœ #œ œ œœ œ
#œ œ œ
& #œ œ œ œ œ #œ œ #œ œ œ œ #œ œ J ‰ œ œ œ œ #œ œ œ œ œ œ
œ œ œ œ œ œ #œ œ # œ œ œ œ œ œ œœ œœ
œœ œœ œ œ #œ nœ#œ nœ#œ
#œ œ œ œ œ
& œ #œœ #œ
# œ œ œ œ
œ œ œ œ
œ
œ œ
œ œ œ
œ œ
nœ #œ nœ #œ nœ
& #œ œ #œ #œœ #œ œ œ œ œ œ <#>œ œ #œ

#œ
Figure 2.26. Exercise C for measures 102 - 108, Serly edition.

œœ œœ œœ #œ œ œ œ œœ œœ
#œ #œ œœ #œ œ œœ œ #œ œ #œ œœ
D & #œ
œ œœ œœ œœ #œœ œœ œœ œœ
œœ #œ
œœœ œ
œœœ œœ
œœ #œ œ œœ œ #œ œœ œœ
& #œ œ J ‰ # œ œ œ œ œ #œ œ œ24 œ œ # œ #œ œ œ œ œ œ œ œ œ
#
œ #œ nœ#œ nœ#œ nœ#œ nœ #œ nœ
& #œ œ #œ #œœ #œ œ œ œ œ œ <#>œ œ #œ
#œ œœ #œ
# œ œ# œ
# œ #œ #œ
œœ œœ œœ #œ œ œ œ œœ œœ
#œ #œ œœ #œ œ œœ œ #œ œ #œ œœ
D & #œ œœ œœ œœ #œœ œœ œœ #œ œ œ œ œœ
œ œœ œœ œœ œœ
œœ #œ œ œœ œ #œ œœ œœ
& #œ œ J ‰ # œ œ œ œ œ #œ œ œ œ œ # œ #œ œ œ œ œ œ œ œ œ
#
œ #œ nœ#œ nœ#œ nœ#œ nœ #œ nœ
& #œ œ #œ #œœ #œ œ œ œ œ œ <#>œ œ #œ

#œ
Figure 2.27. Exercise D for measures 102 - 108, Serly edition.
PB/ND: mm. 102-108
A & #œ œœœœ œœ #œ œ œ œ œ
œ œ œœ œœ
œ œ œ œ œ
#œ œ #œ œ œ
& #œ œ œ œ œ
œ œ œ œ œ
œ #œ œ œ œ œ
#œ Œ œ œ #œ œ œ
& #œ #œ œ œ œ œ
œ #œ nœ #œ nœ #œ
#œ œ œ œ œ œ
& # œ #œ œ
œ œ
#œ œ
œ œ
œ œ
œ B
nœ #œ nœ #œ nœ #œ
#œ # œœ œ
œ <#>œ œ #œ
B #œ œ œ œ œœ
3
œ œ œ #œ
#œ œ
œ œ A for measures
œ œ 102 - 108, revised
œ œedition. œœ œ
Figure 2.28. Exercise
œ œ œ œ œ œ
œ œ œ œ œ
#œ œ #œ œ œ
& #œœ œœ œœ œœ œœ
œ #œ œ œ œ œ
& #œ #œ Œ œ œ #œ œ œ
œ #œ œ œ œ œ
#œ 25 n œ # œ n œ #œ
#œ #œ œ œ œ œ œ œ œ œ œB
& #œ œ œ
#œ œ
B #œ #œ œ œ <#>œ œ #œ
œ œ œ œœ
3
œ œ œ #œ
#œ œ
œœ œœ œœ œœœœ œœ
#œ #œ œ œ #œ œ
œ œ œ œ œ œ
œ œ œ œ œ
#œ œ #œ œ œ
& #œœ œœ œœ œœ œœ
œ #œ œ
& #œ
#œ Œ œ œ #œ œ œ œ œ œ
œ ## œœ œ n œ # œœ œ œ
nœ #œ
#œ #œ œ œ œ œ œ œ œ œ œB
& #œ œ œ
nœ #œ #œ n œ # œœ œ n œ # œœ
œ #œ œ œ
B ##œœ <#>œ œ #œ #œ
œœ œ œ œ œ
3
œ œ
#œ œ
Figure 2.29. Exercise B for measures 102 - 108, revised edition.
œ œ œ œ œ œ œ œœ œœ œ œ œœ
#œ œ #œ œ #œ œ œ œ #œ œ œ œ
C & #œ œ
œ œ œœ œœ œ œ œœ #œœ œ œ œœ œœ œ œ œ œ œ
œ œ
œ œœ œœ œœ
#œ œ œ œ #œ œ #œ œ œ œ #œ œ J ‰ œ#œœ œœ œ #œ œœ œœ œ œ œœ
& #œ œ œ œ œ œœ œœ œ œ œœ #œœ œ œ œ œœ œœ
œœ ## œœ œ œ œn œ # œ nœ#œ
#œ œ œœ œœ œ œ œœ œ œ œœ B
& # œ #œœ œ œ œ #œ œ
œ
œ œ
œ
œ œ œ œ
# œœ œ
B ##œœ œ <#>œ
œ œœ œ œœ
œ œ œ #œ #œ
#œ œ
Figure 2.30. Exercise C for measures 102 - 108, revised edition.

œœ œœ œœ œœ œœ œœ œ œœ œœ
#œ #œ œœ #œ œ œ œ œ #œ œ #œ œœ
D & #œ œœ œœ œœ #œœ œœ œ #œ œ œ œ œœ
œ œœ œœ œœ
œ œ #œ œ 26 œ œ œ
#œ J
& #œ
œ
‰
#œ
œ œ
œ œ œ
# œ œ œ œ
#œ nœ #œ nœ #œ
# œœ œ
B ##œœ œ <#>œ
œ œœ œ œœ
œ œ œ #œ #œ
#œ œ
œœ œœ œœ œœ œœ œœ œ œœ œœ
#œ #œ œœ #œ œ #œ œ #œ œœ
D & #œ œœ œœ œœ #œœ œœ œœ #œ œ œ œ œœ
œ œœ œœ œœ œœ
œ œ #œ œ œ œ œ
#œ J
& #œ
œ
‰
#œ
œ œ
œ œ œ
# œ œ œ œ
#œ nœ #œ nœ #œ
#œ œœ œœ œ # œœ œ œ
#œ œ œ#œ œ œ œ œ B # œ œ œ œ œ œ <#>œ œ #œ #œ
# œ œ œ œ #œ œ œœ
&
nœ #œ nœ#œ nœ #œ #œ œ
Figure 2.31. Exercise D for measures 102 - 108, revised edition.
Measures 112 - 119
27
& Peter Bartók
Difficulty Level: 3
Two main difficulties present themselves in this passage: fast string crossings
(measures 113 and 117) and frequent changes in left hand placement/finger pattern. In the
Serly edition, measures 112 and 116 have the additional difficulty of double-stop sixths;
these should be practiced slowly, in sequence, in order to achieve consistently good
intonation. Before playing both pitches of the double stops together, it is important to
practice placing both fingers while only sounding one. This way, it is easy to determine
which of the two notes is posing the greatest challenge to the intonation of the interval.
As noted above, the challenge in successfully performing measures 113 and 117
lies chiefly in executing the string crossings. However, the left-hand technique difficulty
in these measures is not to be taken lightly, especially considering the quick tempo. For
this reason, it is highly recommended that a fingering be chosen that “sets” the left hand
in a single position for each beat. If this is the approach, these measures turn out to be
28
manageable for the left hand, so long as practice of the shifts between each beat is done
thoroughly and carefully. Note that the fingering included in the revised edition treats
each beat as a unit, with shifts only between beats, while the fingering included in the
Serly edition requires shifts in the middle of some beats. Bowing exercises are provided
below for measures 113 and 117 of each edition. Exercise A reflects potential fingering
choices for the Serly edition that more closely match the revised edition, limiting shifting
to between beats. Exercise B accompanies Primrose’s printed fingering for the passage.
Measures 114 - 115 and 118 - 119 are relatively unchallenging in comparison to
the rest of this passage. Like many similar passages in the Concerto, they require careful
attention to the distinction between half steps and whole steps, and a focused approach to
intonation.
≥œ œ œ œ œ œ ≥œ œ œ œ œ œ
A B œœ œ œ œœ œœ œ œ œ œ œœ œœ
œ œ œ œ œ œ
≥œ≥œ œ œ œœœ œ œ œ ≥≥ œœœ œœ œœ œœ œ œ
B
B œ œœ œœ œœœ œœœ œ œ œœ œœœ œœ œ œœ œ œœ œœ œ œœ œœ œ œ œœ œœ œ
B
A œ œ œ œ œ œœ
≥≥œœ Exercises
œœ œœA and
œœ œBœfor œœmeasures
œ ≥≥ œ 117,
œœ 113 and œ œœ Serly
œ œ œœ œ œ œœ œœ œœ œ œ œœ
œ
Figure 2.34. edition.
B œ œ œ œ œ œ œ œ œ œ œ
B B œ œ œœ œ œ œœ œ œœ œœ œ œ œœ œ œ œœ
≥œ191-193 (Serly);
œ œ189-191
œ œ œ ≥ œ
B œœ œ œ œ(ND/PB)
œ œœ œœ œ œ
œ œ œ œ œ œ œ œ œ œ œœœœœ
& œ œ #œ œ œ œ nœ œ bœ œ #œ #œ œ œ nœ bœ B
Figure 2.35. Exercise for measures 113 and 117, revised edition.
191-193 (Serly); 189-191 (ND/PB)
1 2 3 3 3 3 2 1 1 2 2 3 3 2 2 1
œ #œ œ #œ œ nœ œ nœ
B œ œ œ #œœ œ#œœ œ nœ œœ œ#œ nœœ œ #œœ œbœnœ œœ œ#œ #œ œ œ nœ bœ B
&
2 2 3 0 1 1 2 2 2 2 1 1 3 3 4 4 4 4 3 3
1 2 (4) 3 3 3 3 2 1 1 2 2 3 3 2 2 1
B œ œ #œ œ œ œ nœ œ #œ œ œ #œ œ nœ œ œ
2 2 3 0 1 1 2
292 2 2 1 1 3 3 4 4 4 4 3 3
(4)
Measures 129, 133, and 136 - 140
Figure 2.36. Measure 129, Serly edition.
30
& Peter Bartók
Figure 2.39. Measure 129, revised edition.
& Peter Bartók
31
& Peter Bartók
Difficulty Level: 2
These short passages are part of a larger section of music, to which the same
approach should be applied. The general feature most prevalent throughout these excerpts
is the alternation between a stationary pitch and a moving line of either single pitches or
double-stops. The difficulties with executing these measures lie in the two-fold intonation
challenge inherent in the writing: the moving pitches must be in tune with the stationary
pitch, and, when present, the double-stops must be in tune in themselves. The exercises
below provide practice strategies for achieving good intonation in both of these
conditions, and should be practiced slowly, making sure to listen for pure intonation
between the drone and the moving pitches. In exercise A for measure 133, the fingers
should slide along the string when possible or be lifted with a minimum of motion.
32
& w w
Mvmt. 1
129
& #w
œ œ œ œ œ #œ #œ œ
Figure 2.42. Exercise for measure 129.
#œœ #œœ #œœ

2 2
bœœ bœœ
0 1 0 2 1 0
A & #œœ #œœ bœœ

1 2 1 3 3 3 2 1
œ œ œ
2 2
bœ œ
0 1 0 2 1 0
& œw œ œ œ
#œœ #œœ
B 2 2
bœ bœ
0 1 0 2 1 0
A & #œœ œ œ
#œ #œ œ bœœ
1 2 1 3 3 3 2 1
C & #w
œ œ œ #œ #œ #œ œ bœ
œ œ œ
2 2
bœ œ
0 1 0 2 1 0
B & œ
w 1 2
œ
1 3 3 3 2
œ 1
nœœ œ œœ
3
A & w#œ œ œ œ ˙™œœ#œ œ œ #˙™ œ #œ #œœ œ nœ # œœ#œ nœœ 0#œ

0 0
Figure 2.43. Exercises A, B, and C for measure 133.
C
#œ 0
#œ œ œ œœ # œœ œ œ n œœ œbœœœ # œ
0
0
1 2 1 3 3 3 2 1
œ #œ
3
nœ œ œ œ #œ#œ œœœ
œ œ œ˙™ œ#œ œ #œœœ œ œ œ œ œ#œœœ
3
B & #œœ
#œ œ œ˙™ ##œœ œœ œœ #œ˙™
œ #œœ#œœ œ œ nœ #œœ#œ nœ œœœœ #œœœnœœ nœœœ œœnœœœ œœ œ ##œœ
0 0 0 0 0
A & 0
0
0 0 0 00
0
Mvmt. 2, m. 29
3
b œ œ œ œ #œ#œ n œ n œœœœœ œ œ œ
œ œ#œœ nœ œ #œ œ
B #œbœœœ œ ˙™#œ #œ œ œ&œœ #œœ#œœ #œ œœœ œ œœ œœ œœnœ œ œ œœ#œœœ # œ
B &
0 0 0
0
0 0 0
2 1 2 2 3 1 1 4 1 1 3 1 1 3 4 2 2 1 2 3
Mvmt. 2, mm.
m. 2970-78 (Serly)/mm. 68-76 (ND/PB)
b œœ bbœœ œbœ bb#œœœ n œ n œ œ œ œ œ œ

Figure 2.44. Exercises A and B for measures 136 -140.
b œ œ b œ œ b œ b œ bb œ
œ
I
#œ œ b œœ
& b bœœ œœ b œ bbœœ b&œœ #œ #œ #œ bœœ œœ bœœ bbœœ bœœ
I 2
B
1
II
2
2
2 II
II
2 1 2 2 3 1 1 4 1 1 3 1 1 3 3 4 2 2 1 2 3
III
Mvmt. 2, mm. 70-78 (Serly)/mm. 68-76 (ND/PB)

Serly: 263-end
bœ œœ bbœœ bœ bbœœ bbœœ b œœ bbœœ bbœœ bbœœ

I
I PB/ND: 251-end
bœœ œœ bœœ bœ bœœ

2
& bœ bœ
1
II
b œ œ#œ
2
2
b œ n œ œ
2
b œ œ
II 3
œ œ
2
œ œ
0
œ b œ
II 1 1
b œ œ
2 33 2 3
œ Œ Œ &nœ œ Œ
1 2 3 1
B œ œ œ Œ œ œ œ Œ bœnœ œŒ Œ Œ Œ
4 3 2 3 0 1 1 2 3 0 1 2 3 1
III
Serly: 263-end
PB/ND: 251-end
33
œ œbœnœ œ œ#œ
2
œb œ
3
œ œ
0
œ b œ
1 1
b œ œ
2 3 2 3
œ Œ Œ &nœ œ Œ
1 2 3 1
B Œ œ œ Œ bœnœ œŒ Œ Œ Œ
4 3 2 3 0 1 1 2 3 0 1 2 3 1
œ
& Peter Bartók
34
Difficulty Level: 3
This passage includes strings of consecutive perfect fifths, which form an
ascending line that ends with a double-stop chord in the high register of the instrument.
The climbing fifths require slow practice and careful attention to the manner in which the
finger(s) approach the strings, and the exercises provided here should be first practiced
slowly with concerted focus on those issues.
Exercises A and B below are designed for those players who choose to only use
first and second fingers (in alternation) in executing this passage, and distill the passage
into individual lines for each set of alternating fifths. Exercises C and D are intended for
those players who utilize all four fingers in the lower positions. Both sets of exercises
share the goal of perfecting the shifting motion before revisiting the original passage. As
in measures 102 - 108, it is preferable that the fingers remain curved when playing this
passage if at all possible; collapsing the fingers in order to stop both pitches of the fifths
may seem innocuous at a slow tempo, but the rapid shifting required at concert tempo
makes the un- and re- collapsing of the fingers for each fifth challenging and impractical.
35
Serly: mm. 160-162 DB
ND/PB: mm. 159-161 DB
œ
b œ #œ œ œ #œ œ #œœ n œœ *
A B nœ b œ b œ nœ bœ b œ b œ n œ & #œ nœœ # œ œ œ œn œ œ
b œ #œ œ #
œbœ b œ nœ b œ #œ
1 1 1 1 1 1 1 1 1 1 1 2 2 4
1 1
( 31 )
œ
nœ nœ nœ nœ œ œ œ nœ œnœœ œœ#‹œœ œœ #œœ nœœ *
B B bœbœ nœbbœœn œ n œ n œ &nnœœn œ œ œ œb œ œ
œ b œ bœnœ œ
4
œ
2 2 0 2 2 0 2 2 2 2 2 2 2
1
( 31 )
b œ nœ #œ œ #œ œ # œ #œœ n œœ *
C B
b œ nœ œ b œ bœ nœbbœœb œn œb œn œn œ & #œ nnœœ# œ œ n œ œ ‹œ
b œ nœ #œ #
œbœ #œ 4
2 4 0 1 1 2 4 1 1 1 1 ( 31 )
œ
(2 1)
b œ nœ #œnnœœ nœ nœ nœ nnœœ #œœ #‹œœ#œœ nœœ

B bœ bœ nœbbœœb œb œ n œn œ &nnœœn œn œ n œ œ
b œ nœ b
*
D
œ b œ b œ nœ œ
4
2 3 4 1 2 3 0 1 2 2 2 2
( 1 2) ( 31 )
* G for Serly edition; E for revised edition
Figure 2.47. Exercises A, B, C, and D for measures 160 - 162, Serly edition, and
measures 159 - 161, revised edition.

ND/PB: mm. 211-213 DB
œ œ œ #œ œ œ œ œ #œ œ œ
I
I
œ œ
3 3 3 3 3
1 3
œ œ
1 3 3
œ œ
II 1 II 2
œ œ œ œ œ
1 1 1
1 4 1 3 1 1
& w* œ œ
w*
0
0
œ œ
œ œ œ œ œ œ œ œ#œ œ œ#œ
3
œ œ nœ
3
alternate 2 3 1 2
œ œ œ œ œ
3 1 1 1 3
œ œ œ œ
I 3 4 1 2 1
1 4 1 1 3 1 1 1 1 1
& w*
0
36
& Peter Bartók
37
Difficulty Level: 2
Analogous to measures 41 - 43 and 48 - 50, both this passage and the one
following again require careful attention to finger patterns within the left-hand frame.
The exercises below should be practiced with the goal of maintaining the hand frame and
finger pattern throughout: four notes are played, the entire hand is shifted to the
appropriate position for the next grouping, and the fingers are automatically in place for
mm. 55/2-57 (PB/ND)
the next set of pitches. Every fourth grouping breaks this mold, requiring either a shift in
bœ nœ œ bœ
the middle of the grouping, or different finger pattern than in previous groupings. 4
b œ n œ œ
1 2
bœ
3 1 3
œ nœ œ mentioned œ
bœ nœin addition
1
bpassages
4
œ
2 2 3
A B As for nœ
0 1 2 2 1 1 2 1 2
b œ nœ
1
œ b œ nœ
the analogous
&
above, to working the
3 2 1 3 1 2 1 3 2
exerciseb œ
below as1 written, it is suggested that the player practice setting the hand through
4
œ nœ bœ œ
œ bœ
2
3
bœ œ group
4
silent finger-placing: put all fingersœdown

nœ bfor
œ each
3
œ bœ ofnœnotes,
1 4
œ œbracketed
3 2 2 1 1
bœ nas
2 2 1 2 1
& œ isbœ œ
1 2 0
B
3 2 3 1 2 1 3 1 2 3
bœ œ nœ bœ
fingering a quadruple-stop. Then move on to the next bracketed set. This may be done
œ nœ bœ bœ œ the
œ be
nœ increased
bœ œ nœtoBmatch nœ bspeed
œ nœ with
slowly at first, but the tempo should
B & bœ nœwhich the hand
bœ œ œ
will need to be moved for executing the actual passage.
Serly: 162-164/1
PB/ND: 161-163/1
b œ nœ#œnœ nœ œbœ
nœbœ nœnœnœ œ
3
B #œ#œ #œ#œ#œ#œ bœnœ

1 2 3 4 1 2 3 4 1 2 3 4 2 2 1 1 2 3 4 1 2 3 4 1 2 3 4
nœ
œ#œ#œ œ #œ#œ#œ #œ#œ
Figure 2.50. Exercise for measures 162 - 164, Serly edition, and measures 161 - 163,
Serly: 168-170
revised edition.
PB/ND: 167-169
œ œ b œ œ b œ bœ
#œ œ œ Œ œ œ œ Œ œ œ œ bœ B œ œ Œ œ œ œ Œ bœ œ
A & œ bœ
#œ#œ#œ #œ#œ #œ b œ b œ œ œ œn œ # œ œ
B & œ Œ œ Œ B œ œ#œ Œ œ#œ Œ bœ
38
& Peter Bartók
39
Difficulty Level: 2
bœ nœ œ bœ
mm. 55/2-57 (PB/ND) 4
b œ n œ œ
1 2
œ bœ nœ œ bœ nœ œ
3 1 3
1
b œ nœ
4
As in the previous example, this passage necessitates stability of the left hand 2 2 3
B
0 1 2 2 1 1 2 1 2
œ bœ nœ bœ nœ
1
A &
frame as well as the maintenance
3 2of whole-step
1 3 finger1 patterns
2 1 within
3 2 the frame. Once
bœ œ nœ bœ
œ should
4
œ b œ beœapproached with the

2 1 3
nœ bœ œ œ Bbœ greatest
4
œ œ battention
3
œ nœ bœ
4
again, the given exercises given to the
1
3 2 2 2 2 1 1 2 1 1
& nœ bœ œ
1 2 0
stability of the left hand 3finger

2 pattern
3 1 and
2 1frame. Each 3grouping
1 2 should
3 be treated as a
bœ œ n œ b œbe œreset
n œ during
b œ œ each
nœ bœ œ nœ Bbœ œ nœ bœ
unit; the hand should rest. As in measures 48 - 50, note that the five
B & nœ bœ nœ bœ œ œ
pitches beginning with C-flat near the end of the second exercise routinely prove difficult
Serly: 162-164/1
for intonation purposes, likely due to the four consecutive whole steps. In contrast to
PB/ND: 161-163/1
measures 48 - 50, this passage receives baœdifficulty nœ

nœ#œnœ rating of ‘2’ duebœto the absence œbœ
nœ nœnœ œ of
3
B #œ #œ#œ#œ#œ bœnœ nœ
1 2 3 4 1 2 3 4 1 2 3 4 2 2 1 1 2 3 4 1 2 3 4 1 2 3 4
œ#œ#œ œ #œ#œ#œnœ #œ#œ#œ

open-string pitches.
Serly: 168-170
PB/ND: 167-169
œ œ b œ œ b œ bœ
#œ œ œ Œ œ œ œ Œ œ œ œ bœ B œ œ Œ œ œ œ Œ bœ œ
A & œ bœ
#œ œ œ œnœ#œ œ
œ #œ#œ #œ
Œ œ#œ Œ B œ œ#œ Œ œ#œ#œ Œ bœ bœ b œ
B &
Mvmt. III: mm. 84-92 (Both)

œ # œ œ # œ œ œ # œ œ n œ œ # œ œ n œ #œ œ nœ#œ œnœ œ œ œ œ
revised edition. #œ œ œ#œ œnœ#œ
2 2 3 3
1 3 3 4 3 3
&
œ nœ œ œ œ bœ bœ œ œ bœ nœ bœ œ œ bœ bœ
1
& nœ
4
Œ
1 3 1 3 4 3 2 3 4 2
#œ œ bœ œ œ nœ nœ
#œ
40
& Peter Bartók
Difficulty Level: 2
The large intervals of ninths and tenths are the primary concern in learning this
passage. Though these are intervals rarely required of the violist, they are quite possible
in this instance, as the high register compresses the physical distance between the pitches
41
on the fingerboard. In order to develop the muscle memory necessary to play the higher
pitch of the large intervals in tune reliably, the exercises below ask that the pitches be
practiced as simultaneities; through this type of practice, the hand should develop the
flexibility to play both pitches accurately while keeping the fingers down. When
preparing the Concerto passage for performance, it is important to give enough metric
length to the top note to ensure that the pitch is heard clearly.
mm. 185-189 (Serly)

mm. 185-189 (Serly)
œœ œœ bbœœ #œœ
# œ bœ
& œœ œœ ##œœ nnœœ œœ #œ nœ œœ œœ œ bœ œ œ ##œœ œ b œ nnœœ
& #œ nœ œ bœ œ œ ##œœ nnœœ œœ
1 4
—2 1 4 1 1 4 0 1 4 0 – –3
2 (2) 3 – (2) – 2 1
1II 41 1 41 —2 1 1II 41 0 1 41 04 – – 3I
2 (2) 3 – (2)II – 2 1
II 1 —2 1 —2 II 1 1 4
II
II I II
Figure 2.56.
mm.Exercise for measures 185 - 189, Serly edition.
183-187 (ND/PB)
mm. 183-187 (ND/PB)
nnœœ nnœœ bbœœ ##œœ œœ ##œœ

nœ œ
& nœ œ ##œœ nnœœ œœ #œ nœ
& #œ nœ œœ œœ bœ bœ
bœ bœ œœ #œ nnœœ œœ
1 4 1 4 1 1 4 œœ 4
nn œœ #œ 2 0 4 2 1
1II 41 —2 1 41 —2 1 1II 41
2
2II
1
41
0
2 04 4 2 1
II 1 —2 1 —2 II 1 1 II
1
1 0 4
1III
III

bbœœbbœœ##œœnœ
mm. 41-43/1 (Both)
œœbbœœ ##œœ œœ
mm. 41-43/1 (Both)
A B œ
B œ œ œœœ œ œ##œœœœ œœœ##œœœ nœ œ œœ œœ œœ œœ œœ##œœ œœ œœ##œœ##œœ œœ &
&
A
œ
œœ œ œ œ œ
0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1 0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1
œ œœ ## œœ œœ
0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1 0 1 2 3 1 2 3 4 1 2 3 4 4 3 2 1
B Œ œ œb œ œ œ
œ œ œ œ œ
B B œœ œbœ œ œœbbœœbbœœ ŒŒ œ œœbbœœnnœœ œ œ œœ œœ
B œœbbœœbbœœ Œ œ œœbbœœnnœœ œ œ œœnnœœ
3 2 1 4 3 2 1 4 3 2 1 0 1 2 3 3 2 1 4 3 2 1 4 3 2 1 0 1 2 3
3 2 1 4 3 2 1 4 3 2 1 0 1 2 3 3 2 1 4 3 2 1 4 3 2 1 0 1 2 3
mm. 48-50 (Both)
##œœ œœ œœ
mm. 48-50 (Both)
œœœ œ œ œ œ
& ŒŒ œ œ œ ŒŒ œ œ œ œ ŒŒ B
Bœ Œ œ œ Œ œœ œœ œœ Œ œœ œœ bbœœbbœœ œ
A
A & œ œœ œœ Œ œ œ œœ Œ Œ œ
#œœ##œœ##œœ #œ##œœ##œœ
# œ œ##œœ##œœ œœ
& ŒŒ ŒŒ #œ ŒŒ B
B Œ Œ b œ œ
#œ Œ #œ#œ Œ bœ bœ bœ œ œ œ
& œœ##œœ#œ ##œœ#œ#œ bœ bœ
B
B
42
43
& Peter Bartók
Difficulty Level: 1
Chromaticism and half- versus whole-step intonation create the difficulty in this
relatively straightforward passage. Exercises are provided for the first two measures, and
focus on the setting of the hand in the extremely condensed pattern of half steps between
all of the fingers. Following these first measures, the passage includes more whole steps,
enabling the player more freedom and comfort within the left hand frame. Since there are
numerous fingerings appropriate for this passage, no finger-pattern exercises are provided
for the final eight measures; however, it is recommended that they be practiced in the
given manner once a fingering is chosen.
44
œ
≥œ œ œ œ œ œ ≥ œ
B œœ œ œ œœ œœ œœ œ œ
œ œ œ œ œ œ œ œ œ œ œœœœœ
191-193 (Serly); 189-191 (ND/PB)
œ #œ œ œ œ nœ œ #œ #œ œ œ nœ bœ
& œ œ bœ B
1 2 3 3 3 3 2 1 1 2 2 3 3 2 2 1
B œ œ #œ œ œ œ nœ œ #œ œ œ #œ œ nœ œ œ
2 2 3 0 1 1 2 2 2 2 1 1 3 3 4 4 4 4 3 3
(4)
revised edition.
& Peter Bartók
45
Difficulty Level: 3
The difficulty in these measures lies primarily in the shifting required, especially
as the goal is the very high register of the viola. The examples below provide a
systematic method for practicing these shifts. As noted above, the high register of these
ND/PB: mm. 159-161 DB
œ this
œ reaches
measures is a challenge, as half steps become increasingly small whenœ pitch
bœ #œ œ œ #œ #œ n œœ *
A B
b œ nœ n œ b œ b œ nœbbœœ bbœœ b œ n œ & #œ nœœ ##œœ œœ œ œn œ #œ
œbœ
range. Maneuvering the left hand # œ of the instrument may also be an issue
around the bouts
1 1 1 1 1 1 1 1 1 1 1 2 2 4
1 1
( 31 )
œ
in this passage, and must be addressed by each individual player. The exercises should be
nœ nœ nœ nœ œ œ œ nœ œ nœœ œœ‹œœ œœ #œœ nœœ *
B b œ nœ b œ n œ n œ nœ œ œ b œ œ
œ b œbœ nœ œbœ b œ n œ n œn œ œ
practiced
B with glissando shifts where &
indicated by dashes, with the most careful attention
2 2 0 2 2 0 2 2 2 2 2 2 2 4
given to intonation and accuracy of shifting while maintaining a stable left1 hand (frame.
1)
3
* G for Serly (3); E for ND/PB (1)

Alternate exercises are provided for shifting starting from either the D or A string, with a
Serly:version
condensed mm. 213-215 DB at the end of their respective lines.
of each
ND/PB: mm. 211-213 DB
œ œ œ #œ œ œ œ œ #œ œ
I
I
œ œ œ
3 3 3 3 3
1 3
œ œ
1 3 3
œ œ œ
II 1 II 2
œ œ
1 1 1
1 4 1 3 1 1
& œ œ w* œœ
w* 0
0
œ œ
œ œ œ œ œ œ œ œ#œ œ œ#œ
3
œ œ nœ
3
alternate 2 3 1 2
œ œ œ œ œ
3 1 1 1 3
œ œ œ œ
I 3 4 1 2 1
1 4 1 1 3 1 1 1 1 1
& w*
0
revised edition.
mm. 36/3-37/2 (Both)
bœ œ #œ b œ #œ b œ œ œ # œ b œ # œ # œ œ
3
œ
2 3
œ œ #œ œ
2 1 1 1
1 2 3
B œ œ œ œ
3 4 1
3 1 3 1 1 1 1 1 2
&
46
CHAPTER 3
PARLANDO AND THE SECOND MOVEMENT
The Parlando section preceding the second movement of the Bartók Concerto is
highly challenging, mostly due to the extended chromatic scalar passage that occupies the
space from the eleventh measure of the section to the beginning of the second movement
(see Figures 3.1 and 3.2). Intimate familiarity with the left hand shapes and finger
patterns required for this passage is essential, as the fast tempo, irregular metric
groupings, and changing intervallic patterns provide ample opportunity for confusion
during performance. Therefore, though short, the Parlando section requires a significant
amount of attention during the course of preparing the Concerto for performance.
Though the second movement appears short in length and light on notes, its
difficulty should not be underestimated, as it makes significant technical demands of the
soloist. High-register playing permeates the movement, requiring the player to address
the logistical issues often encountered during extended high-range passages on the viola.
The navigation of the left hand around the shoulder of the viola must be considered, as
should be the maintenance of a left-hand posture that permits free and relaxed vibrato
during the extreme-range passages in this movement.
47
Parlando, Measure 11 - End
Figure 3.1. Parlando, measure 11 - end, Serly edition.
48
& Peter Bartók
Figure 3.2. Parlando, measure 11 - end, revised edition.
Difficulty Level: 4
This passage is arguably one of the most difficult to be found in the Concerto. The
highly chromatic scales provide the pitfall of getting one’s fingers tangled in addition to
demanding an intimate knowledge of the pattern of whole and half steps. Since that
pattern is irregular, the player must become very familiar not only with the intervals, but
also with the varying distances between the hand’s outer “frame” fingers (first and
fourth). Exercise A, below, provides a method of practice that focuses on establishing the
49
compressed hand frame shapes that are necessary when playing this passage. Focusing
carefully on intonation, each beamed group of two notes should be first attempted as a
unit, which is then connected to the previous and subsequent groupings. In this way, the
player develops the outer framework for the left hand, which is then filled in by way of
Exercise B. In both exercises, the hand should be placed as a unit for each beamed
grouping of pitches, and then shifted as a whole prior to beginning the next grouping.
Once this has been achieved, work on connecting each group to the next via smooth
shifting is advised. Exercise C provides a rhythmic framework for increasing the tempo
of Exercise B in order to attain the speed and facility necessary for performing the
original passage, and should be practiced with metronome, increasing tempo as able.
50
parlando 11-end
#œ œ nœ #œ #œ
#œ œ # œ #œ #œ #œ
3 4
œ #œ #œ nœ #œ nœ #œ #œ nœ B
1 4 4
1 1 4 1 1 4 1 3 1 4 1 2 1 4 1
A &
#œ #œ #œ
B #œ #œ #œ nœ #œ nœ nœ #œ #œ #œ
4 1 3 1 4 1 4 1 3 1 4 1 3 1 3 1 4 1 2 1
nœ #œ nœ œ #œ #œ nœ # œ # œ n œ
* *
#œ#œ œ
3
2 1
œ #œ#œ œ # œ # œ # œ # œ n œ #œ#œ#œ nœ # œ n œ #œ#œ #œ nœ#œ
(4) 4
3 2 1
(1)
0
#œ Œ
0 4 3
Œ Œ Œ Œ Œ
3 2 1 4 3 2 1 2 1 4 3 2 1
B &
nœ#œ#œ#œ Œ nœ#œnœ Œ #œnœ#œ#œ #œnœ#œ

& #œnœ#œ Œ #œ#œ#œnœ Œ B Œ Œ #œ#œnœ#œ Œ
3 2 1 4 3 2 1 2 1 0 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1
B nœ#œ#œ#œ Œ nœ#œnœ Œ #œ Œ Œ Œ Œ
4 3 2 1 3 2 1 4 3 2 1 3 2 1 3 2 1 4 3 2 1 2 1 2 1 0
#œ#œnœ #œnœ#œ #œ#œnœ #œnœ#œ#œ #œnœ # œ # œ n œ

* *
# œ # œ n œ n œ #œ œ
#œ nœ # œ # œ # œ n œ #œ #œ #œ nœ # œ n œ #œ #œ #œ nœ #œ #œ
C &
3 5
nœ #œ nœ #œ #œ #œ nœ #œ
& #œ nœ #œ #œ #œ #œ nœ #œ nœ #œ #œ #œ nœ B
3 3
#œ #œ nœ #œ
3
B nœ#œ#œ#œ nœ #œ nœ #œ#œ
3 3 3 3
#œ nœ #œ nœ #œ #œ #œ nœ #œ nœ#œ#œ#œ nœ # œ # œ n œ
* *
* Select bracketed section that matches chosen fingering.
Figure 3.3. Exercises A, B, and C for Parlando, measure 11 - end, Serly edition.
51
#œ œ œ # œ# œ
#œ#œ #œ #œ nœ# œ #œ #œ #œ
3 4
#œ #œ nœ #œ nœ #œ #œ nœ
4
1 4
B#œ
0 4 1 2 1 4 2 1 4 1 4 1 3 1 4 1 2 1 4 1
1
A & œ œ&
B
#œ #œ #œ #œ
B #œ #œ nœ #œ nœ nœ #œ #œ #œ #œ
4 1 3 1 4 1 4 1 3 1 4 1 3 1 3 1 4 1 2 1
nœ nœ œ #œ #œ nœ # œ # œ n œ
* *
#œ#œ œ
3
2
œ #œ #œ œ
4
#œ Œ #œ œ œ
1
#œ #œ œ Œ B#œ #œ œ œ #œ #œ œ Œ
0 4
Œ
3 2 1 2 1 4 3 2 1 4 3 2 1 4 3 2
B & &
#œ #œ #œ #œ nœ # œ n œ #œ #œ
#œ #œ #œ nœ
4 (1)
Œ #œ nœ #œ #œ Œ
3 2 1 0 4 3
Œ Œ
4 3 2 1 2 1 4 3 2 1
&
nœ#œ#œ#œ Œ nœ Œ #œnœ#œ#œ #œnœ
& #œnœ#œ Œ #œnœ #œ#œ#œnœ Œ B Œ #œ Œ #œ#œnœ#œ Œ
3 2 1 4 3 2 1 2 1 0 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1
B nœ#œ#œ#œ Œ nœ#œnœ Œ #œ
1
Œ Œ Œ Œ
4 3 2 1 3 2 1 4 3 2 1 3 2 1 3 2 1 4 3 2 1 2 2 1 0
#œ#œnœ #œnœ#œ #œ#œnœ #œnœ#œ#œ #œnœ # œ # œ n œ

* *
# œ # œ œ œ #œ
#œ œ #œ #œ 6 7
C & œ œ #œ #œ B#œ #œ œ œ #œ
œ #œ œ &
#œ #œ #œ #œ nœ
3 5
#œ #œ #œ nœ # œ n œ #œ #œ #œ nœ #œ
& #œ
5
3
nœ #œ #œ #œ nœ
3
#œ nœ #œ #œ #œ nœ #œ
& #œ nœ #œ #œ nœ #œ #œ #œ nœ B #œ #œ nœ #œ
3
B nœ#œ#œ#œ nœ #œ nœ #œ
3 3 3 3
#œ#œ nœ #œ nœ #œ #œ #œ nœ #œ nœ#œ#œ#œ nœ # œ # œ n œ
* *
* Select bracketed section that matches chosen fingering.
Figure 3.4. Exercises A, B, and C for Parlando, measure 11 - end, revised edition.
52
Measure 29
& Peter Bartók
Difficulty Level: 2
This measure consists of an ascending run that joins the previous, low-register,
material to the subsequent passage, which utilizes the extreme high register of the viola.
The difficulty here lies primarily in shifting. However, attention must also be given to the
irregular pattern of intervals, as the accelerating tempo provides little opportunity to
establish a stable hand frame. The exercise below should be practiced slowly at first, in
order to allow careful focus on intonation. As the exercise is mastered, the tempo may be
increased to the point of matching that of the original excerpt. Shifts (indicated by
53
3 136
˙™ œ#œ#œ œ œ #˙™
A & #œ œ œ œ œ nœœ œ œœ
0 0
œ #œ œ œ œ nœ #œœ#œ nœ œœ # œœ œ
0 n œœ œœ œ # œ 0
0
0
dashes) should
œœ œ
be executed as slowly as possible, using a smooth gliding motion
3 136
œ #œ#œ
œ
œ ˙™ œ#œ nœ œ œ
B & #of œœtempo. œ œœ œ œ œ œœ
#œ œ œ œ œ#œ #œ œ œ œ œ nœ œ œ œ #œ
0 0 0
regardless
0
0
#œ 0 0
Mvmt. 2, m. 29
œ b œ œ n œ n œ œ œ œ œ œ
bœ œ #œ #œ œ œ #œ
B &œ #œ #œ
2 1 2 2 3 1 1 4 1 1 3 1 1 3 4 2 2 1 2 3
Figure 3.7. Exercise for measure

Mvmt. 2, mm. 29.
70-78 (Serly)/mm. 68-76 (ND/PB)
bœ œœ bœ bœ bœ bbœœ b œœ bbœœ bbœœ bbœœ

I
œœ bœ bœ bœ
I 2
& bœ bœ bœ bœ bœœ
1
œ bœ œ
II
2
2
2 II
II
3
III
Serly: 263-end
PB/ND: 251-end
œbœnœ œ œ#œ
2
b-œ36
3
œ œ œ œ
0
œ b œ
1 1
bœ Œ &nœ œ œ Œ
2 3 2 3
œ œ œ Œ œ œ œ Œ bœnœ œŒ œ Œ
1 2 3 1
B Œ Œ Œ
0
4 3 2 3 0 1
Measures
1
30
2 3 1 2 3 1
54
& Peter Bartók
Difficulty Level: 1
This passage makes use of the extreme high register of the viola. Though the
measures would be quite unchallenging if played in a lower octave, Bartók’s choice of
range makes the execution of this passage difficult. Main areas of concern are sound
quality and intonation. The provided exercise employs an open-D string drone to aid the
player in judging whether the moving notes are in tune. When practicing the exercise,
care should be taken to shift the entire hand as a unit, with the first finger serving as an
anchor for the rest; despite the high position, a stable left hand posture with curved
fingers should be maintained.

Mvmt. 2, mm. 30-36
w #w
1 1
w #w
2 3 w
2 w #w nw
3 4 3
w #w nw #w nw
& w w w w w w w w w w w w w
ff – vibrato, full bows
Figure 3.10.mm.
Exercise
54-55/1 for measures 30 - 36.
(Serly)
œ bœ nœ œ bœ nœ œ bœ
œ bœ nœ
II I 4
B
4 2 4 4 1 2
œ bœ nœ
2 1 1 2
1
nœ &
4
1 2
mm. 55/3-57 (Serly) 55
bœ nœ œ bœ bœ nœ œ
4
œ bœ nœ œ
1 3
2 4 2 2 3
0 1 1 2 1 1 2 1 2
Measures 54 - 55
& Peter Bartók
Difficulty Level: 1
At first glance, this passage may appear difficult. However, if one examines it in
terms of left hand finger patterns, it becomes clear that each one-beat grouping is made
up of the same intervallic content as the others. Though the original passage presents the
pitches within these three-note groupings out of (ascending) order, each grouping may
still be practiced as a simple ascending trichord with the intervals of a minor second
followed by a minor third.
56
mm. 54-55/1 (Serly)
œ bœ nœ
II I 4
B
4 2 4 4 1 2
œ bœ nœ
2 1 1 2
1
nœ &
4
1 2
mm. 55/3-57 (Serly)

The exercises below should be practiced with strong focus on maintaining a stable
œ bœshifting nœ œ
œ nœas a œunit.b œNote
4
bhand
3
b œ nœ
1
œ
4
Mvmt. 2,1 mm.1 30-36 2 3
B nœ
0 2 2 1 1 2 1 2 2
left
A hand
œ bœ nœ wbœ #nwœ w w # w &n w w # w n w
frame and finger pattern, while always the that in
w #w #w nw
1 1 2 3 2 3 4 3
2 1 3
3 1 2 1 3 2 3
& œ w œ bwœ w w nw w bœw w w w w w w

this passage,
4 the distance between the first and fourth fingers is a diminished fourth
œ œ bœ œ
3
œ œ bœ nœ bœ
1 3 4
œ Bto a perfect
2 2 2 1 2 1 1 1 1
2 2
& ff – vibrato, nœ bœ œ
0
(enharmonically, a major third), as opposed

full bows fourth.
3 2 3 1 2 1 3 1 2 3
œ mm.
n œ 54-55/1
b œ (Serly)
œ œ bœ œ
B & b œ œnœ bœ œBœ bœnœ bœ nœ bœbœ œnœ bœ œ œb œ
œ
II I 4
B nœ œ &nœ
4 1 2 4 2 4 1 2
nœ œ bœ
1 2 1
4
1 2
Figure 3.13. Exercise for

mm. 55/3-57 measures 54 - 55, Serly edition.
(Serly)
mm. 54-55/1 (PB/ND)
bœ bœ nœ œ
4
œ b œ nœ œ
3
b œ nœ
1
&nœ œ
4 3
œ bœ
2
A B œ bœ nœ bœ nœ
0 1 1 2 2 1 1 2 1 2 2
n œ
4
2
bœ nœ œ b œ nœ œ bœ
1
B œ œ nœ œ bœ &
1 2 4 1 2 4 2 11 23 4 1 2 4
3 1 2 1 3 2 3
œ œ bœ4
bœ œ œ bœ
œ œ bœ œ
3 1 3 4
œB
2 2 2 1 1 1 1
nœ bœ nœ bœ œ
2 2 2 1
&
0
Figure 3.14.
3 Exercise
2 3 for
1 measures
2 1 54 - 55, revised
3 1edition.
2 3
œ nœ bœ
œ œ bœ œ
B & œ bœ Bœ nœ bœ nœ bœ œ bœ œ
Measures 55 - 57
œ bœ
mm. 54-55/1 (PB/ND)
nœ
4
2
œ bœ nœ œ bœ
1
œ œ bœ &nœ œ bœ
4
B nœ
1 2 4 1 2 4 1 2 1 2 4
57
& Peter Bartók
Difficulty Level: 1
This passage can be easily broken down into a scalar format for practice. Though
Mvmt. 2, mm. 30-36
the intervallic
1 pattern
w #w1 is 2irregular,
3 w2 ofw3 the #shifts
none
w #w w4 nrequired
w3 w are particularly unusual. The #w nw #w nw
&are also spelled such that readability is high. Exercise A should be practiced and
pitches
w w w w nw w w w w w w w w
ff – vibrato, full bows
mastered first, with careful attention given to intonation and smooth shifting. Exercise B
mm. 54-55/1 (Serly)
is a continuation of the previous exercise, and requires fluidity in shifting in order to
œ bœ nœ
II I 4
B the rhythmic
4 2 4 4 1 2
nœ
1 2
nœ œ bœpattern.
1 2 1
maintain &
4
1 2
mm. 55/3-57 (Serly)
bœ bœ nœ œ
4
œ b œ nœ œ
3
b œ nœ
1
œ
4 2 3
B &nœ
0 1 2 2 1 1 2 1 2 2
œ bœ nœ bœ nœ
1
A
2 1 3
3 1 2 1 3 2 3
œ œ bœ
4
bœ œ œ bœ
œ œ bœ œ
3 1 3 4
œB
2 2 2 1 1 1 1
nœ bœ nœ bœ œ
2 2 2 1
&
0
3 2 3 1 2 1 3 1 2 3
œ nœ bœ
œ œ bœ œ
B & œ bœ Bœ nœ bœ nœ bœ œ bœ œ
Figure 3.17. Exercises A and B for measures 55 - 57, Serly edition.
œ bœ
mm. 54-55/1 (PB/ND)
nœ
4
2
œ bœ nœ bœ
1
œ œ bœ &nœ58 œ œ bœ
4
B nœ
1 2 4 1 2 4 1 2 1 2 4
mm. 55/2-57 (PB/ND)
b œ n œ œ bœ
4
n œ œ
œ bœ nœ œ bœ nœ œ b œ
1 2
3 1 3
1
b œ nœ
4 2 2 3
B
0 1 2 2 1 1 2 1 2
b œ nœ
1
A œ bœ nœ &
3 2 1 3 1 2 1 3 2
bœ œ nœ bœ
œ œ bœ œ
4 2 1 3
nœ bœ œ œ Bbœ œ œ bœ nœ bœ
4
3 4
1
3 2 2 2 2 1 1 1 1
2
& nœ bœ œ
1 2 0
3 2 3 1 2 1 3 1 2 3
bœ œ nœ bœ
œ nœ bœ œ
nœ bœ œ nœ Bbœ œ nœ bœ
B & nœ bœ nœ bœ œ œ
Figure 3.18. Exercises A and B for measures 55 - 57, revised edition.

Serly: 162-164/1
PB/ND: 161-163/1
#œnœ œ nœnœnœ œ b œ nœ nœ œbœ

œ bœnœnœbedition)
3
B #œ#œ edition) and 68-76

#œ#(revised
1 2 3 4 1 2 3 4 1 2 3 4 2 2 1 1 2 3 4 1 2 3 4 1 2 3 4
œ#œ#œ œ #œ#œ#œ nœ - 78 (Serly

Measures 70
#œ#œ #œ#œ
Serly: 168-170
PB/ND: 167-169
#œ œ œ Œ œ œ œ Œ œ œ œ bœ B œ œ Œ œ œ œ Œ œ œ b œ œ b œ bœ bœ œ
A & œ bœ
#œ#œ #œ b œ œ œ œnœ#œ œ
B & œ #œ Œ œ#œ Œ B œ œ#œ Œ œ#œ#œ Œ bœ bœ
Figure 3.19. Measures 70 - 78, Serly edition
59
& Peter Bartók
Difficulty Level: 3
Chords comprised of two stacked pairs perfect fourths form the content of these
measures. An open string below these pitches is sometimes added. While the addition of
the open string below the fingered pitches does not alter the left-hand difficulty of the
passage in terms of finger placement or execution, the fixed pitch of the open string does
make it essential that the intonation of the stopped notes is pure in relation.
Since the interval content of the sonorities stays the same throughout the passage,
the fingering also remains the same. Thus, the difficulty in this passage lies in
maintaining the correct distance between the fingers (intonation) while shifting the hand
by whole steps. The exercises below separate the chords that appear in the Concerto into
their component pairs of perfect fourths. These should be practiced with a relaxed left
hand, sliding slowly between the pairs of pitches. To further prepare for performance of
the original passage, the pitch missing from each of the exercises below may be stopped
with the appropriate finger, but not sounded. Note that the upper two pitches for the first
60
œ#œ nœ œ œ œ #œ#œ œœ
B & #œœ œ œ
˙™ œ œœ œ œ œ œœ
#œ œ œ œ œ#œ #œ œ œ œ œ nœ œ œ œ #œ
0 0 0
0
0
#œ 0 0
Mvmt. 2, m. 29
œ œfourœ
n œsubsequent œ
#œ œ b œ are also the lower twoœ pitches
œ œ #œ n œ œ
B bœ œ #œ
five measures of the passage for the
&œ #œ #œ
measures. 2 1 2 2 3 1 1 4 1 1 3 1 1 3 4 2 2 1 2 3
Mvmt. 2, mm. 70-78 (Serly)/mm. 68-76 (ND/PB)
bœ œœ bbœœ bœ bbœœ bbœœ b œœ bbœœ bbœœ bbœœ

I
œœ bœ bœ bœ
I 1
& bœ bœœ
II
bœ
1 2
2 2
œ bœ œ
II II 3
III
Figure 3.21.Serly: 263-endfor measures 70 - 78, Serly edition, and measures 68 - 76, revised
Exercises
PB/ND: 251-end
edition.
2
œb œ
3
œ œ
0
œ b œ
1 1
b œ œ
2 3 2 3
œ œ
1 2 3 1
B œ œ œ Œ œ œ œ Œ bœnœ œŒ Œ Œ &nœ Œ Œ Œ Œ
4 3 2 3 0 1 1 2 3 0 1 2 3 1
61
CHAPTER 4
THE THIRD MOVEMENT
The third movement of the Bartók Concerto is, in essence, a moto perpetuo in the
style of many romantic-period violin works bearing the title or designation. Though there
are periods of rest for the violist in this movement, the fast tempo is maintained with little
variation throughout. In addition to speed and agility, technical demands include the
navigation of highly chromatic passages and prolonged periods of high-register playing.
Shifting also poses an issue in the third movement, especially in those passages that
feature the repetition at different pitch levels of falling dyad figures ornamented by trills
(measures 8 - 21 and 84 - 92 are prime examples of this type of content, and can be seen
in Figures 4.1, 4.2, 4.13, and 4.14). An extended passage of double-stop octaves
(measures 198 - 212, Figure 4.20) in the Serly edition is also a challenge for those players
performing that version of the Concerto.
The task of learning this movement should include slow, deliberate practice, with
the utmost attention given to the placing of the left hand and fingers. Fragmentation of
the movement’s content according to left hand position and/or finger pattern is
recommended so that the player may develop a personal sequence of hand placements
that will then be practiced. In this way, the movement is learned with more attention to
muscle memory than aural cues; it is this author’s opinion that such an approach is highly
62
efficient when attempting a moto perpetuo-type selection. Many of the exercises provided
in this chapter address this approach to practice.
Measures 8 - 21
63
& Peter Bartók
Difficulty Level: 2
This passage demands speed and agility in shifting and resetting the hand in a
somewhat compressed finger pattern. For the first part of the passage the distance
between first and third fingers is generally a whole step, which is a smaller span than is
typical. Elsewhere in the passage the distance between those two fingers widens to a
minor third (sometimes spelled as an augmented second), a more typical spacing within
the left hand frame. Managing these intervals within the hand frame is the main task in
these measures. The quick tempo in this passage means there is little time to change the
finger pattern after the left hand is set, necessitating an approach to practice that
emphasizes familiarity with the progression of finger patterns. The exercises below
outline such an approach. In addition to practicing them as written, it is recommended
that the player practice (silently; without the bow) placing the hand for each bracketed
64
group of notes with all fingers down in the appropriate position, as if fingering a multi-
stop. In preparing the Concerto passage for performance, it is suggested that the
performer deliberately plan the number of turns to be executed for each trill in order to
facilitate left hand relaxation and clarity of the figures. Reference to etudes that address
planningMVTM.
of trillsIIIin this manner is provided in Appendix A.
Serly: mm. 8-21
nœ#œ œ œ B #œ œ œ #œ œ œ œ#œ#œ œnœ œ œ œ#œ œ#œ œ œ#œ#œ nœ œ œ

MVTM.
1 2 3 III
4 1 2 3 1 2 3 1 2 3 3 2 1
II
3
& Serly: mm. 8-21 #œ œ œ &
œœ œ œ œ œ#œ#œ œnœ œ œ œ#œ œ#œ œ œ#œ#œ nœ œ œ

II
& œnœ#œ B #œœœ n œ# œb œœ œ & #œ

1 2 3 4 1 2 3 1 2 3 1 2 3 3 2 1 3
#œ nœ œ œ #œ
3 2 1
œ bœ B œ nœ bœ Œ & #œ
3 2 1 3 2 1 2 1 3 2 1
&
3
œ nœ bœ 3
#œb œnœb œ œœ œ #œ
2 1
& nœœ œœ nœbœ œ bœ bœ œ B œ nœ bœ bœ Œbœ œ& #œ

3 2 1 3 2 1 3 2 2 1 3 2 1
3
1
b œ
4
b œ
1 2 3 2 1 0 3 2 1 2 1 0 3 2 1
& B œ
bœ bœ œ
bœ bœ œ
œ nœ œ bœ bœ
3 2
nœ bœ bœ œ
1
B bœ bœ œ
4
œ
1 2 3 2 1 0 3 2 1 2 1 0 3 2 1
& PB/ND: mm. 8-21 bœ bœ œ

œ#œ œ œ
3 4
œœ #œ œ œ œ#œ#œ œnœ œ œ œ#œ œ#œ œ œ#œ#œ nœ œ œ

1 2 II
B PB/ND: mm. B#œ8-21

1 2 3 1 2 3 1 2 3 3 2 1 3
œ #œ œ œ &
œ#œ œ
3 4
œ œ œ œ#œ#œ œnœ œ #œœœ#nœœ œ#œ œ œ#œ#œ nœ œ œ

1 2 II
B B#œ œ n œ b œ &#œ
1 32 3 1 2 3 1 2 3 3 2 1 3
œ œ #œ #œ
2 1
& œ œ bœ # œ œ œ B œ nœ bœ Œ &
3 2 1 3 2 1
œ nœ bœ #œb“œ”nœb œ œ œ #œ #œ
3 2
b œ
1
œ
& nœ œœ œbœ œ bœ bœ B œ nœ bœ b œ
Œ & œ œ
3 2 1 3 2 1
œ bœ bœ œ
“”
& bœ bœ œ
œ œ bœ bœ b œ b œ œ b œ bœ œ
nœ œ œ bœ bœ œ
& mm. 41-44 (Serly) bœ bœ œ bœ œbœ
n œ #œ#œ nœ œ #œ
3
œ bœ œ œ nœ œ œ bœ œ bœ œ œ bœ œ
2
œ
1
3 3 3 3
b œ Œ
2 1 2 1 3 2 1 2 1 2 1 2 1
& mm. 41-44 (Serly)

3
bœ
œ nœ œ œ bœ œ bœ œ bœ œ bœ œ œ b œ n œ #œ#œ nœ œ œ #œ Œ
Figure 4.4. Exercise for measures 8 - 21, revised edition. 3
œm.bœ41œ(Both)
2 1
3 2 1 3 2 1 3 2 1 3 2 1 2 1 3 2 1
&
3
œ bœ œ œ nœ œ œ bœ œ œ nœ œ œ bœ œ œ #œ
Œ
3 2 1 3 2 1
& m. 41 (Both)
œ bœ œ œ nœ œ œ bœ œ œœb œnœ œ œ bœ œ œ #œ Œ
œ bœ œbœ œ
3 2 1 3 2 1 3
& nœ
2 1
#œ#œ nœ œ œ #œ
3
bœ œ œ nœ œ œ bœ œ bœ œ bœ
2 3
1 2
3 3 3
Œ
2 1 2 1 3 2 1 1 2 1
&
œ65b œ œ b œ œ 3
b œ œ #œ#œ nœ
2 1 3
nœ bœ œ œ nœ œ œ bœ œ bœ œ bœ œ œ #œ Œ
2 3
1 2
3 2 1 3 2 1 3 2 1 3 2
1 1
&
Measures 41 - 49
& Peter Bartók
66
œœ œ #œ œ œ œ#œ#œ œnœ œ œ œ#œ œ#œ œ œ#œ#œ nœ œ œ
& nœ#œ B #œ œ œ&
#œ œ
œ nœ bœ
3
#œ nœ œ œ #œ #œ
2 1
& œ œ bœ œ nœ bœ Œ
3 2 1 3 2 1 3 2 1 3 2 1
B &
Difficulty Level: 2
bœ bœ œ
œ nœ œ bœ bœ
3
2
nœ b œ
1
bœ œmeasures lies primarily

B bœ bœ inœ
4
œ the difficulty in these

1 2 3 2 1 0 3 2 1 2 1 0 3 2 1
& Much as in the last passage, bœ bœ œ

maintaining an accurate sense of where the left hand is placed on the fingerboard. In
PB/ND: mm. 8-21
addition, the finger patterns within the hand frame must be learned such that when the
œ#œ œ œ
#œ œ œ automatically œ œ#into
#œ œ move œnœcorrect
œ œ œpositions.
#œ œ#œ œ Exercises
œ#œ#œ nœthat
1 2 II
handB œ#œ the œœ

4 1 2 3 1 2 3 1 2 3 3 2 1 3
is shifted, theBfingers
3
#œ œ œ &
œ nœ bœ
address these concerns 3are provided below for measures 41 - 44. It is suggested that these
#œ nœ œ œ #œ #œ
2 1
œ œ b œ œ nœ b œ Œ
3 2 1 3 2 1
& and measures 45 - 49 also be practiced in the silent

measures B & hand-setting method as
“ ”
b œ b œ that addresses
outlined for the previous passage. An additional exercise
œ b œ b œ sliding the
œ
nœ œ œ œ bœ bœ œ bœ bœ œ
& finger within the hand frame bisœ provided for measure 41. As in measures
second bœ œ 8 - 21, in
preparingmm.
the41-44
Concerto
(Serly)passage for performance, it is suggested that the performer
b œ n œ #œ2 #œ1 fornœ3 each bœ œ
œ3 bœ2 count
œ œ nthe œ bœ ofœ turns
bœ he orœshe #œ
3
œ œnumber bœ plans œ2 œ1 trill.

2
œ on executing
1
œ bœ
3
Œ
deliberately 1 3 2 1 3 2 1 3 2 1
&
m. 41 (Both)
œ bœ œ œ nœ œ œ bœ œ œ nœ œ œ bœ œ œ #œ
Œ
3 2 1 3 2 1
&
mm. 41-44 (PB/ND) œbœ œ bœ œbœ
nœ bœ œ œ nœ œ œ bœ œ bœ œ
Figure 4.7. Exercise for measure 41. œ #œ#œ nœ œ œ #œ
& bœ Œ
67
m. 41 (Both)
œ bœ œ œ nœ œ œ bœ œ œ nœ œ œ bœ œ œ
3 2 1 3 2 1
#œ Œ
&
œbœ œ bœ œbœ 3 2
œ #œ#œ nœ œ #œ
1 3
nœ bœ œ œ nœ œ œ bœ œ bœ œ bœ
2 3
œ
1 2
3 3 3
Œ
2 1 2 1 3 2 1 1 2 1
&
Measures 65 - 81
68
& Peter Bartók
Difficulty Level: 3
An overall understanding and comfort with fingerboard layout is essential when
learning this passage. Slow practice of the original measures is recommended in order to
build familiarity with the changing patterns of note repetitions and melodic contour. In
addition, Exercise A below provides a representation of the various scalar fragments that
comprise the passage. The goal of this exercise is to distill the pitch content of these
measures into simple pitch groupings, which may then be practiced for intonation as well
69
mm. 101-103 (Serly)
II I
bœ #œ nœ bœ œ#œnœ
II
& patternœ familiarity. œ #œ nœ a method #œ#œ nœ ofŒ the

1 1 1 1 1 1 1 2 2 3 4 2 1 1 1 1 1 1 1 2 2 3 4 2
asAfinger #œ nœExercise
œ #œ nœB #provides for #practicing
œnœ œ#œnœintonation
pitches that4 appear in both the viola part and the orchestra accompaniment during the first
bœ œ bœ nœ
#œ #œ #œ nœ nœ œ bœ bœ bœ nœ
3 2
B of&this passage. In Since the trombone outlines pitches of œthenœviola œ innaœ melodic
2
Œ
3 2 4 3 2 2 3 2 3 3 2 1 4 3
part #œ #line
statement, it is important for the soloist to address the intonation of the pitches shared
mm. 101-103 (PB/ND)
between theIIsolo and orchestra parts. In addition to
I
approaching
II
this issue through
bœ œ œ #œ ‹œ #œ bœ œ œ#œ‹œ#œ
nœ passage œ#œnœ
1 1 2 2 1 1 2 2 1 2 2 3 4 2 1 1 2 2 1 1 2 2 1 2 2 3 4 2
A & of Exercise œ #œentire

nœ #the #œnœa#drone
(1 1) (1 1)
practice ‹œ #œ nœ #œthat
B, it is suggested ‹œ#œnœwith
be practiced
pitch of anb œadjacent

œ3 2 open
b œ œ #œ #œ #œ ‹œ #œ nœ
string. Note that no fingering is provided for the exercises;
4
#œ #œ bœ nœ nœ œ #œ #œ nœ Œ
2 3 2 4 3 2 2 3 2 3 3 2 1 4 3
B &
since fingering
III choices vary widely in this passage, the player should apply his or her
mm. 213-221 (Serly)
own fingering
mm.to205-213
the example.
(ND/PB)
III
œnœnœ
mm. 65-81 (Both)
b œ n œ # œ # œ n œ b**
b œ
œ nœ œ nnœœ #œœ #œœnœœnœ œ œnœnœnœ œbœ nœ nœ #œ #œ #œ œ
<#>
B
B #œ #œ
A #œ #œ #œ
œ #œ œ œœ œœ
& nœ #œ #œ
#œ œ *
b3 œ b4œ 1 b2œ bœ3 ∫ œ 2 b3œ b4œ nœ1 œ2 bœ3 nœ2 bœ3
*
B #œ #œ œ #œ nœ nœ œ nœ œ œ œ œ(1
2 3 1
4 1 2 2 4 1 2 3 1 2 3 2
1 2)
œ œ œ œ# œ# œn œb œ *
#œ #œœ
bœ IIInœ œ œ bœ#œ#œbœœ#œb#œœ#∫œœœ#œ œ &#œœœœœ#œ #œœœnœœ bœ
B BBœ œ#œ
œ #œ #œ#(Serly)
# œ #198-212
# œmm.
nœœ bœ #œbœ #œ #œ #œ nœ nœ #œ #œ #œœ bœœbœ#œœ bœ#œbœ œ bœ œ bœ œ
2 3 4 1 2 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 1 2 1 2 1 2 3 1 2
b
0 1 II
A B&nœ œ
* Serly: G# œ
œ œœœœœœœœœœœœ
(1 1 2)
Revised edition: G§
* In the 1IIrevised
1 1 1
edition, 1 etc.
this pitch is notated as Fº 0 1 1 1 1 1 1 etc.
II III II
bœbœ bœbœ
**
Mvmt In III,the
65 revised edition, this pitch is spelled as D#.
œ b œ#œb œ œœ b œ œnœ œ œ œ œœ œnœ œ œ œ œ œ œ #œ œ #œ œ b œ œ b œ œ

Mvmt III, 65
B&##œœ
B B œ
œ #œ #œ #œ nœ
œ #œ nœ #œ œ œ #œ œ #œ œ nœ nœ œœ œœ #œ œ #œ #œ œ #œ
4 4 4 4 etc. 3 4 4 4 4 etc.
bbœœ bœ œœ bbœœ bœ
I I II
B œœ ##œœ nnœœ ##œœ œœ≤ œœ nnœœ

≤
œœ œœ bœ œœ Œ
≥ bœ≤ Œœ ≥œ
C B ™™ œ ™™ ™™ œ œ œ œ œ œ œ
B ≥ ≥ ≤
œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
<≤
Figure 4.12. ExercisesœA and
<≤ ≥>
œ B for measuresœ65 - œ81.
≥ ≤ ≥> ≥ ≤
III
mm. 198-204 (ND/PB)
70
Measures 84 - 92
& Peter Bartók
71
Difficulty Level: 2
This passage contains material similar to that found in measures 8 - 21, but
provides the added challenge of extending the left hand frame beyond the reach of a
perfect fourth in addition to compressing the hand into smaller intervallic distances than
are typical. In addition, accurate shifting is especially important in this passage; as the
final note of a shift has often just been heard, inaccurate shifts are likely to be more
noticeable here than in other instances. Finally, the fast tempo eliminates the possibility
of correcting any mistakes during performance (making it extremely important that this
passage be well understood by the performer). The exercise below employs the same
approach as for measures 8 - 21. Practice should be slow, with particular attention given
to finger patterns within the hand frame. Silent hand-setting should also be practiced,
with emphasis on accurate alteration of the hand frame when moving between
compressed and extended shapes.
Mvmt. III: mm. 84-92 (Both)
œ # œ œ #œ# œ œ œ # œ œ n œ œ # œ œ n œ #œ œ nœ#œ œnœ œ œ œ œ

œ œ#œ œnœ#œ
2 2 3 3
1 3 3 4 3 3
&
œ nœ œ œ œ bœ bœ œ œ bœ nœ bœ œ œ bœ bœ
1
& nœ
4
œ bœ œ œ nœ nœ # œ Œ
1 3 1 3 4 3 2 3 4 2
#œ
mm. 101-103 (Serly)

Figure 4.15. Exercise for measures 84 - 92.
II I
bœ œ #œ nœ bœ œ#œnœ
II
#œ nœ œ #œ nœ #œ #œ nœ #œnœ œ#œnœ#œ#œ nœ Œ
1 1 1 1 1 1 1 2 2 3 4 2 1 1 1 1 1 1 1 2 2 3 4 2
A &
bœ œ bœ nœ
#œ #œ #œ nœ nœ œ bœ bœ bœ nœ
4
3 2
œ nœ #œ #œ nœ
2
Œ
3 2 4 3 2 2 3 2 3 3 2 1 4 3
B &
mm. 101-103 (PB/ND)
II
72 I II
bœ œ œ #œ bœ œ œ#œ
‹œ #œ ‹œ #œ nœ #œ nœ #œ #œ nœ ‹œ#œ‹œ#œnœ #œnœ#œ#œnœ
1 1 2 2 1 1 2 2 1 2 2 3 4 2 1 1 2 2 1 1 2 2 1 2 2 3 4 2
A &
(1 1) (1 1)
Measures 101 - 103
& Peter Bartók
Difficulty Level: 4
Along with the passage from the Parlando section preceding the second
movement (addressed in Chapter 3), this is arguably one of the most challenging sections
of the Concerto. Though the content is not overly complex in itself, the combination of
double stops and high left hand position make these three measures difficult to execute at
performance tempo. Double-stop intonation and shifting are the primary areas for
concern when learning and practicing this passage. The exercises below provide
strategies for addressing these issues by illustrating the individual paths of the upper and
73
lower pitches of the double-stops. Initially, they should be practiced slowly and without
concern for tempo or rhythm. Rhythm and tempo should then be incorporated into
practice of the exercises. Once the exercises are mastered as written, the Concerto
passage should be attempted first by placing the hand as if to play both pitches, but
sounding only one (sounding only the lower pitch and then only the upper), and then as
written.
mm. 101-103 (Serly)

II I
bœ œ #œ nœ bœ œ#œnœ
II
#œ nœ œ #œ nœ #œ #œ nœ #œnœ œ#œnœ#œ#œ nœ Œ
1 1 1 1 1 1 1 2 2 3 4 2 1 1 1 1 1 1 1 2 2 3 4 2
A &
mm. 101-103 (Serly)
II I
b bœœ œœ b#œœ nnœœ

#œ #nœ œ#œ#œnœnœnœ#œ œ#œbœnœ bœ bbœœ œnœ#œnœ#œnœ œ#œnœ#œ#œ nœ Œ
II
1 1 1 1 1 1 1 2 2 3 4 2 1 1 1 1 1 1 1 2 2 3 4 2
A &
4
3 2
œ nœ #œ #œ nœ Œ
2 3 2 4 3 2 2 3 2 3 3 2 1 4 3
B &
b œ Exercise
œ3 b œ2 n œ2for
#œ3measures
#œ2 #œ4 101
nœ3 n-œ2 103,
4
œ bœ bœ bœ nœ
Figure 4.18. 2 Serly2 edition.
œ nœ #œ #œ nœ Œ
3 3 3 2 1 4 3
mm. 101-103 (PB/ND)
B &
II I II
bœ œ œ #œ bœ œ œ#œ
œ #œ ‹œ #œ nœ #œ nœ #œ #œ nœ ‹œ#œ‹œ#œnœ #œnœ#œ#œnœ
1 1 2 2 1 1 2 2 1 2 2 3 4 2 1 1 2 2 1 1 2 2 1 2 2 3 4 2
A & mm. 101-103‹(PB/ND)

(1 1) (1 1)
bœ œ bœ œ
#œ #œ
4 II I II
& bœ œ œ #œ ‹œ #œ#‹œœ #œ nœ‹œ#œ#nœœ #nœœ ##œœ nœ#œ bbœœ nœœ œn#œœ‹œœ#œ#‹œœ##œœnœ #œnœ #œ#Œœnœ
1 31 22 2 1 1 2 2 1 2 2 3 4 2 1 1 2 2 1 1 2 2 1 2 2 3 4 2
2 3 2 (1 4 1) 3 2 2 3 2 3 3 2 1 4 (13 1)
B &
A
bœ œ bœ œ
#œ #œ #œ ‹œ #œ nœ #œ
4
#œ bœ nœ nœ œ #œ #œ
3 2
nœ
2
Œ
3 2 4 3 2 2 3 2 3 3 2 1 4 3
B &
74
75
& Peter Bartók
Difficulty Level: 2 (Serly edition); 1 (revised edition)
Octave intonation is the primary difficulty in this passage. Since the interval of
the octave is maintained throughout, the left hand’s task consists of two goals: maintain
an octave hand frame with pure intonation, and shift accurately. The challenge in
maintaining intonation in the octave hand frame lies mainly in the tendency for many
players to develop left hand tension in extended octave passages and with the adjustment
necessary at register changes. In the Serly edition the most obvious opportunity for error
occurs in measure 206, when the initial statement of the passage is repeated at the upward
transposition of a perfect fourth. At that point, the performer must adjust the hand frame
to reflect the smaller spacing of intervals in the high range of the viola.
Shifting the left hand accurately is also a concern in this passage, as the entire
hand must be moved as a unit throughout in order to maintain pure octave intonation.
Exercises A and B illustrate an approach to practicing that addresses shifting the first and
fourth fingers individually. Each of these exercises should be practiced as written first,
76
and then with the additional finger placed but not sounded. Shifts should initially be
practiced as slow glissandi, and then may be quickened. The left hand should remain as
relaxed as possible throughout. In order to have a pitch reference for intonation purposes,
open-string drones may be used when practicing these exercises.
Exercise C addresses the bowing of this passage. Though it may seem an
innocuous aspect of these measures, the relaxation of the right hand is essential for
maintaining clarity during the repetitive string crossings. It is recommended that Exercise
C be practiced slowly at first, with the goal of increasing the speed to performance
tempo. For the Serly edition, an alternate bowing is provided below the staff.
III
mm. 198-212 (Serly)
bœ bœ œ bœ bœ œ bœ œ bœ œ
A & œ bœ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
1 1 1 1 1 etc. 0 1 1 1 1 1 1 etc. 1 1
II II III II (2)
bœbœ œbœbœ œbœ œbœ œ

œbœ bœ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
B & œ
4 4 4 4 etc. 3 4 4 4 4 etc.
I I II
≤ ≤ ≥œ ≤ œ ≥œ
™ ™™ ™™ œ œ œ œ œ œ œ œ ™™
≥ ≥ ≤ œ
C B ™ œ
œ œ
œ œ
œ œ œ œ œ œ
œ
œ œ œ œ
<≤ <≤ ≥>
œ œ œ œ
≥ ≤ ≥> ≥ ≤
Figure 4.22. Exercises
III A, B, and C for measures 198 - 212, Serly edition.
mm. 198-204 (ND/PB)
B œ bœ bœ œ bœ œ bœ bœ
A œ œ œ #œ
1 1 1 1 etc. 1 0 1
III IV
œ bœ bœ œ bœ œ bœ œ bœ œ œ #œ
B B
4 4 4 4 etc. 3 4
II II III
™ ™™
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
C B ™ œ œ œ œ œ œ
œ œ
77
C B ™™ œœ œ œ œœ œœ œ œ œœ ™™ ™™ œ œœ œœ œ œ œœ œœ œ ™™
<≤ <≤ ≥>
œ œ œ œ
≥ ≤ ≥> ≥ ≤
III
mm. 198-204 (ND/PB)
B œ bœ bœ œ bœ œ bœ bœ
A œ œ œ #œ
1 1 1 1 etc. 1 0 1
III IV
œ bœ bœ œ bœ œ bœ bœ
œ œ œ #œ
B B
4 4 4 4 etc. 3 4
II II III
™ ™™
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
C B ™ œ œ œ œ œ œ
œ œ
Figure 4.23. Exercises A, B, and C for measures 198 - 204, revised edition.
78
& Peter Bartók
Difficulty Level: 2
This passage must be practiced slowly and deliberately in order to ensure the
clarity of intonation between whole and half steps. In order to simplify this task,
Exercises A and B provide a reduction of the original passage into a scalar format. The
goal in practicing these exercises should be to familiarize oneself with the pitch content
of the original passage so that the repeated notes and ornamentations of the original may
be executed without detriment to intonation or hand posture.
79
Figure 4.26. Exercises A and B for measures 213 - 221, Serly edition, and measures 205 -
213, revised edition.
80
& Peter Bartók
Difficulty Level: 2
Shifting from very high to lower positions is at issue in the preparation of this
passage, as is small-interval intonation. The downward shifts in the first few measures
should be executed such that the left fingers maintain contact with the string; this is often
a challenge in shifts involving high positions, as the shoulders of the viola may impede
smooth motion of the left hand. Another challenge in this passage is accurate aural
preparation for leaps; in order to ensure that the performer plays the pitch following an
intervallic leap in tune, it is helpful if he or she is able to aurally perceive the pitch before
playing it. In this passage, the irregular intervallic pattern makes the process of aural
preparation challenging. To practice this skill, it is suggested that the performer attempt
to sing the pitch following any leap before attempting to sound the pitch on the
81
#œ *
1 2 3 4 1 2 2 3 4 1 2 3 2 3 4 1 2 3 2 3 4 1 2 3 1 2 3 2
b**œ œ n œ
(1 1 2)
# œn œ
œ#œ#œ œnœ#œœœ œ œ œ# œ
B B #œ#œ#œ &#œœœ#œ #œ
# œ # œ #œ #œ#œ#œ#œ#œœ
#œ 0 1 2 3 4 1 2 1 2 3 4 1 2
II
3 4 1 2 3 4 1 2 3 1 2 1 2 1 2 3 1 2 3 2
instrument. In addition, mastery of fingerboard “geography” is necessary

(1
to
1
ensure
2)
that
* Serly: G#
the player isRevised
clearlyedition:
aware G§ of what position he or she is in at any given time, and where
** In the revised edition, this pitch is spelled as D#.
theIIIfirst finger lies in pitch-space for each position.

mm. 222-231 (Serly)
mm. 214-224 (ND/PB)
œ#œ œ œ œ#œ œnœ#œ œnœ

4
œ b œ œ œ #œnœ œ
œ #œnœ œ œ œ#œœœ#œœ œ œnœbœ
3 2 3 2 1 3 2 3
1 2 3 2
1 1 3 2 1 3 2 1
œ
1
&
nœ œ œ œ nœ œ bœ B#œ nœ #œ œ
& œ #œ #œ œ nœ nœ œ œ œ
B œ œ œ œ nœ Œ
nœ #œ bœ nœ #œ œ œ œ # œ nœ #œ œ
œ4 # œ3Exercise
Figure 4.29.
œ œ œ2 # œ1 forœ3 nmeasures
œ œ
222 - 3231, Serly edition, and measures 214 - 224,
# œ n œ œ1 œ b œ2 œ1 œ3 #œ2 nœ1 œ3 #œ2 nœ1 1 œ œ#œ œ bœnœ
2 3 2
1 3 2
revised edition.
œ œ œ#œ œ bœ
& œ
bœ œ œ
& œ #œ #œ bœ nœ nœ œ œ nœ bœ B #œ nœ #œ œ
œ nœ œ
Measures 263 - End (Serly edition) and 251 - End (revised edition)
B œ œ œ œ nœ Œ
nœ #œ bœ nœ #œ œ œ œ # œ nœ #œ œ
Figure 4.30. Measure 263 - end, Serly edition.
82
& Peter Bartók
Figure 4.31. Measure 251 - end, revised edition.
Difficulty Level: 3
Though this passage may appear somewhat unchallenging, its placement at the
very end of the Concerto should not be overlooked as a factor in potentially increasing its
difficulty due to performer fatigue.
Shifting in a fast tempo is the primary technical challenge here, with the added
issue of navigating the left hand around the shoulder of the viola posing the potential for
additional logistical considerations. Practice of this passage should commence at a slow
tempo, and must address intonation and shifting. It is suggested that the pitches be
separated into segments according to fingering - all of the notes to be played in one
position should be played, then the hand should be reset during silence, and then the next
group of notes should be played, and so forth. The exercise below illustrates this
approach, and provides an alternate fingering to those found in the Serly and revised
editions.
83
& bœ œ bœ bœ bœ bœœ œœ bœ bœ bœ
2 2
œ bœ œ
II II 3
III
Serly: 263-end
PB/ND: 251-end
2
œb œ
3
œ œ
0
œ b œ
1 1
b œ œ
2 3 2 3
œ œ œ Œ œ œ œ Œ bœnœ œŒ œ Œ Œ &nœ œ Œ
1 2 3 1
B Œ Œ Œ
4 3 2 3 0 1 1 2 3 0 1 2 3 1
Figure 4.32. Exercise for measure 263 - end, Serly edition, and measure 251 - end,
revised edition.
84
CHAPTER 5
SUMMARY AND CONCLUSIONS
Beginning to learn a new work is often a daunting task for a performer. The
question, “Where do I begin?” is a frequent uttering among many, and has been rarely
addressed in the published literature with respect to specific works. The most notable
exceptions to this statement are the analytical studies of Otakar Ševčík,23 which provide
systems of etudes for several of the standard violin concertos and other concerted works.
In this way, the performer is provided with a “how-to manual” of sorts, enabling
efficiency in the learning process. Though similar projects have been undertaken by
graduate students,24 no other published collections of the scope of Ševčík’s are known to
exist.
Violists are fortunate to have access to transcriptions of Ševčík’s many method
books, as well as other etude collections. However, there are few original etudes for the
advanced violist25,26 and no analytical studies, save those contained in DeBardenlaben’s
recent Doctoral dissertation.27 Considering this lack of materials, the difficulty of
23
Analytical studies by Ševčík exist for the following works for violin: Tchaikovsky, Concerto; Paganini,
Concerto No. 1; Wieniawski, Concerto No. 2 and Scherzo-tarantelle, Mendelssohn, Concerto; Brahms,
Concerto (including Joachim cadenza). Full citations appear in the bibliography.
24
25
Minor Lewis Wetzel, “A Better Bartók: Dilemmas and Solutions in Performing Bartók's Viola Concerto”
(D.M.A. diss., University of California – Los Angeles, 2010).
26
Ulisses Carvalho Da Silva, “Original and Transcribed Etude Books for Viola: A Reference Guide for
Teachers and Students” (D.M.A. diss., University of Georgia, 2010).
27
Ibid.
85
Bartók’s Concerto for Viola and Orchestra, and its prominence in the violist’s repertoire,
it is useful to address the work under the lens of the Ševčík analytical studies method.
Therefore, in what preceded, the most challenging passages from the viola part of
Bartok’s Concerto for Viola and Orchestra have been systematically discussed. Technical
difficulties have been enumerated, and practice strategies have been offered. Finally,
original etudes in the style of Ševčík’s analytical studies have been provided to aid the
player in preparation of this work.
For each passage addressed, an exercise or set of exercises presents concrete
practice strategies intended to assist the player in developing the necessary skills for
specific application of techniques to the learning of the Concerto. It is then expected that
the player will use the strategies from the etudes to further his or her practice of each
passage, with the eventual goal of performing the Concerto as a whole. Though the
exercises provided here are a preliminary step in approaching the work, their use and
mastery is intended to provide a firm technical basis from which the violist can move to
practice of the original Concerto passages.
86
BIBLIOGRAPHY
Ševčík Analytical Studies – Original Publications
Ševčík, Otakar, Fr Beck, and Johannes Brahms. Studie, Op. 18: Johannes Brahms,
Concerto in D-dur. Brno: Edition Pazdírek, 1930.
Ševčík, Otakar, Fr Beck, and Felix Mendelssohn-Bartholdy. Studie, Op. 21: F.
Mendelssohn-Bartholdy, Concerto in E-Moll. Brno: Edition Pazdírek, 1931.
Ševčík, Otakar, Joseph Joachim, and Johannes Brahms. Studie, Op. 25 [nach] Joachim:
Cadenza de Brahms Concerto D dur. Brno: Edition Pazdírek, 1931.
Ševčík, Otakar, and Nicolò Paganini. Studie, Op. 20: N. Paganini, Allegro-Concerto I, D-
Dur. Brno: Edition Pazdírek, 1932.
Ševčík, Otakar, and Peter Ilich Tchaikovsky. Studie, Op. 19: P.J. Tschaikowsky,
Concerto in D Dur. Brno: Edition Pazdírek, 1930.
Ševčík, Otakar, and Henri Wieniawski. Studie, Op. 17: H. Wieniawski 2. Concerto in D
moll. Brno: Edition Pazdírek, 1929.
Ševčík Analytical Studies – Recent Re-Publications
Brahms, Johannes, Otakar Ševčík, and Endre Granat. Brahms Violin Concerto in D
major. Complete violin & piano score, critical urtext violin part, including Joseph
Joachim's cadenza with Ševčík study. Maryland Heights, Missouri: Lauren Keiser
Music, 2012.
Mendelssohn-Bartholdy, Felix, Otakar Ševčík, and Endre Granat. Violin Concerto in E
minor. Complete violin & piano score, critical urtext violin part, analytical studies
& exercises. Maryland Heights, Missouri: Lauren Keiser Music, 2010.
Paganini, Nicolò, Otakar Ševčík, Stephen Shipps, Danae Witter, and Émile Sauret. Violin
Concerto no. 1 in D major, Op. 6. Complete violin & piano score, critical urtext
violin part including the cadenza by Émile Sauret. Maryland Heights, Missouri:
Lauren Keiser Music, 2012.
Tchaikovsky, Peter Ilich, Otakar Ševčík, Stephen Shipps, Dmitri Vorobiev, Danae Witter,
and Leopold Auer. Violin Concerto, Op. 35. Complete violin & piano score,
critical urtext violin part, analytical studies & exercises, including the Leopold
87
Auer edition. Maryland Heights, Missouri: Lauren Keiser Music, 2011.
Wieniawski, Henri, Otakar Ševčík, and Endre Granat. Violin Concerto in D minor.
Complete piano & violin score, critical urtext violin part, analytical studies &
exercises, op. 17. Maryland Heights, Missouri: Lauren Keiser Music, 2011.
Wieniawski, Henri, Otakar Ševčík, Stephen Shipps, and Danae Witter. Scherzo-
tarantelle. Complete violin & piano score, critical urtext violin part, analytical
studies & exercises. Maryland Heights, Missouri: Lauren Keiser Music, 2010.
Other Ševčík Studies and Method Books
Applebaum, Samuel, and O. Ševčík. Best of Sevčik. Melville, N.Y.: Belwin Mills, 1972.
Campagnoli, Bartolomeo. Forty-one Caprices for Viola, Opus 22. Edited by Carl
Herrmann. London: Edition Peters, [1960].
Kreutzer, Rodolphe. Forty-two Studies for the Viola. Edited by Walter Blumenau.
Chester, N.Y: G. Schirmer, Inc., 1950.
Mingotti, Anton, O. Ševčík, and Kitty Rokos. How to Practise Ševčík's Masterworks.
London: Bosworth, 1957.
Rode, Pierre. Twenty-four Capricen, in [the] Form of Etudes for Viola Alone, in all
Twenty-four Keys. Edited by Max Rostal. Mainz: B. Schott’s Söhne, 1974.
Ševčík, Otakar. Forty Variations, Op. 3. London: Bosworth, 1905.

_____. Preparatory Trill Studies for Violin, for Developing the Touch and Strength and
Surety of the Fingers, Op. 7. New York: C. Fischer, 1911.
_____. The Ševčik Scale and Arpeggio Book for Violin: A Preparation for all
Examinations, Compiled from Ševčik's Different Works and Completed. London:
Bosworth & Co, 1900.
_____. School of Intonation on an Harmonic Basis for Violin in XIV Parts, Op. 11. New
York: Harms, 1922.
Ševčík, Otakar, and Alan H. Arnold. Preparatory Studies in Double-Stopping for Viola,
Op. 9. London: Bosworth, 1990.
Ševčík, Otakar, and Philipp Mittell. School of Violin Technic, Op. 1. New York: G.
Schirmer, 1933.
_____. Shifting the Position and Preparatory Scale-Studies for the Violin, Op. 8. New
York: G. Schirmer, 1933.
_____. Preparatory Exercises in Double-Stopping in Thirds, Sixths, Octaves and Tenths
88
for the Violin, Op. 9. New York: G. Schirmer, 1933.
Ševčík, Otakar, and Lionel Tertis. School of Technique, Op. 1, for Viola. London:
Bosworth, 1952.
_____. School of Bowing, Op. 2, for Viola. London: Bosworth, 1956.
_____. The Celebrated Ševčík Studies, Arranged for Viola. London: Bosworth, 1952.
Stoeving, Paul, and Otakar Ševčík. The Elements of Violin Playing: And a Key to Ot.
Ševcik's Works, for Teachers and Students : 65 Analytical, Explanatory and
Commentatory Lessons in the Early and Intermediate Stages, with Illustrations
and Supplementary Notes, Etc. Leipzig: Bosworth & Co, 1914.
Other Collections of Studies and Etudes

Campagnoli, Bartolomeo. Forty-one Caprices for Viola, Opus 22. Edited by Carl
Herrmann. London: Edition Peters, [1960].
Flesch, Carl. Scale System. Adapted for the viola by Charlotte Karman. New York: Carl
Fischer, Inc., 1942.
Galamian, Ivan and Frederick Neumann. The Galamian Scale System: Adapted for Viola.
Enlarged, arranged, and edited by Karen Olson. Boston, MA: Galaxy Music (a
division of ECS publishing), 1997.
Kreutzer, Rodolphe. Forty-two Studies for the Viola. Edited by Walter Blumenau.
Chester, N.Y: G. Schirmer, Inc., 1950.
Rode, Pierre. Twenty-four Capricen, in [the] Form of Etudes for Viola Alone, in all
Twenty-four Keys. Edited by Max Rostal. Mainz: B. Schott’s Söhne, 1974.
The Viola and Viola Technique
Dalton, David, and William Primrose. Playing the Viola: Conversations with William
Primrose. Oxford [England]: Oxford University Press, 1988.
Dolejší, Robert. Modern Viola Technique. New York: Da Capo Press, 1973.
Maurice, Donald. Bartók's Viola Concerto: The Remarkable Story of His Swansong.
Oxford: Oxford University Press, 2004.
Menuhin, Yehudi, and William Primrose. Violin and Viola. New York: Schirmer Books,
1976.
Primrose, William. Walk on the North Side: Memoirs of a Violist. Provo, Utah: Brigham
89
Young University Press, 1978.
Primrose, William, and Ron Strauss. Down the Primrose Path: A Violist's Notebook.
[S.l.]: Hand Made Books, 1984.
Riley, Maurice W. The History of the Viola. United States: s.n., 1991.
Other Applicable Research and Writings
Asbell, Stephanie Ames. “Béla Bartók's Viola Concerto A Detailed Analysis and
Discussion of Published Versions.” DMA diss., University of Texas at Austin,
2001.
Cho, Min-Young. “A Practice Guide to Violin Concerti by Darius Milhaud, Hans Werner
Henze and Arthur Bliss.” DMA diss., Florida State University, 2011.
DeBardelaben, Ross Adam. “Applying the Sevcik approach to selected excerpts from the
first movement of the Brahms Viola Sonata in F Minor.” DMA diss., University of
Miami, 2012.
Silva, Ulisses Carvalho Da. “Original and Transcribed Etude Books for Viola A
Reference Guide for Teachers and Students.” DMA diss., University of Georgia,
2010.
Wetzel, Minor Lewis. “A Better Bartók: Dilemmas and Solutions in Performing Bartók's
Viola Concerto.” DMA diss., University of California – Los Angeles, 2010.
Scores
Bartók, Béla, Nelson Dellamaggiore, Peter Bartók, and Paul Neubauer. Viola Concerto,
Op. posth. London: Boosey & Hawkes, 1995.
Bartók, Béla, and Tibor Serly. Concerto for Viola and Orchestra, Op. posth. London:
Boosey & Hawkes, 1950.
Bartók, Béla, László Somfai, and Nelson Dellamaggiore. Viola Concerto. Homosassa,
Fla: Bartók Records, 1995.
90
APPENDIX A
LIST OF PASSAGES DISCUSSED
Measure Numbers Measure Numbers Difficulty Additional Related

Primary Technical Concerns
(Serly) (Revised Edition) Level Etudes/Studies*
Mvmt. I 21 - 23 21 - 23 2 finger patterns, perfect fifth Ševčík Op. 1, Ševčík Op. 9

intonation
36 - 37 36 - 37 3 small interval intonation, shifting Ševčík Op. 7, Ševčík Op. 8
41 - 43, 48 - 50 41 - 43, 48 - 50 2 intonation, whole step/half step Ševčík Op. 1, Ševčík Op. 7,
distinction, finger patterns, hand Rode 23
frame stability
73 - 76 74 - 76 2 shifting, high position intonation, Ševčík Op. 8, Kreutzer 14, 30,
hand frame extension 25, 26, Rode 23
88 - 90 88 - 90 3 sliding fourth finger, intonation Kreutzer 14, 30, Rode 23
102 - 108 102 - 108 3 high position intonation, perfect fifth Kreutzer 25, 26
intonation, hand frame stability
112 - 119 112 - 119 3 string cossings, hand frame stability, Ševčík Op. 8
shifting
91
129, 133, 136 - 129, 133, 136 - 2 intonation Ševčík Op. 1
140 140
160 - 161 159 - 160 3 perfect fifth intonation, shifting Ševčík Op. 8
162 - 164, 168 - 161 - 169 2 intonation, whole step/half step Ševčík Op. 1, Ševčík Op. 7,
170 distinction, finger patterns, hand Rode 23
frame stability
185 - 189 183 - 187 2 large interval intonation, hand frame Ševčík Op. 9, Kreutzer 14, 30
extension
191 - 200 189 - 198 1 intonation, whole/half step Ševčík Op. 7
distinction
213 - 215 211 - 213 2 high position intonation, shifting Ševčík Op. 8, Kreutzer 25, 26
Parlando, m. 11 - Parlando, m. 11 - 4 chromaticism, finger patterns, Ševčík Op. 7, Rode 23

end end whole/half step distinction
Mvmt. II 29 29 2 shifting Ševčík Op. 8
30 - 36 30 - 36 1 high position intonation Kreutzer 25, 26
54 - 55, 55 - 57 54 - 55, 55 - 57 2 (Serly), hand frame maintenance, shifting Ševčík Op. 8

1(Revised)
70 - 78 68 - 76 3 intonation, sliding perfect fourths Ševčík Op. 9
92
Mvmt. 8 - 21 8 - 20 2 shifting, finger pattern changes, trill Ševčík Op. 8, Rode 23,
III planning Campagnoli 30 Kreutzer 15 - 22
41 - 49 41 - 49 3 shifting, finger pattern changes Ševčík Op. 1, Rode 23,
Campagnoli 30
65 - 81 65 - 81 3 hand frame maintenance, finger Ševčík Op. 1, Ševčík Op. 7,
pattern changes, whole/half step Kreutzer 14, 30, Campagnoli 30
distinction
84 - 92 84 - 92 2 shifting, finger pattern changes, trill Ševčík Op. 1, Rode 23,
planning Campagnoli 30, Kreutzer 15 -
22
101 - 103 97 - 103 4 double stop intonation Ševčík Op. 9, Kreutzer 32, 33,
35, Rode 16, 19
198 - 212 198 - 204 2 (Serly), octave intonation, shifting, hand Ševčík Op. 1, Ševčík Op. 9,
1(Revised) frame maintenance Rode 21
213 - 221 205 - 213 2 hand frame maintenance, finger Ševčík Op. 7, Kreutzer 14, 30,
pattern changes, whole/half step Rode 23, Campagnoli 30
distinction
222 - 231 214 - 224 1 shifting, finger pattern changes Ševčík Op. 1, Rode 23,
Campagnoli 30
263 - end 251 - end 3 shifting, finger pattern changes Ševčík Op. 1, Rode 23,
Campagnoli 30
*In addition to the studies listed for each passage, it is suggested that the Flesch and Galamian Scale Systems be revisited in the
appropriate key(s) for additional practice of many of the techniques listed here.
93
APPENDIX B
DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL EXAMPLES
February 11, 2013
Megan Chisom Peyton

750 Gaines School Road, APT G115
Athens, GA 30605
USA
RE: Viola Concerto, SZ120
Dear Ms. Chisom Peyton:
We hereby grant permission for you to include excerpts from the above referenced work in your dissertation for the
University of Georgia. As we assume you will not distribute your paper beyond that which is required for the degree,
no fee is payable.
We do require that you include the following copyright notice immediately following the music examples:
Viola Concerto, SZ120 by Bela Bartok, completed and orchestrated by Tibor Serly
Viola Concerto, SZ120 (Revised Version) by Bela Bartok, new version by Nelson Dellamaggiore & Peter Bartok
Should you wish to place your paper elsewhere you will have to contact us in advance as a royalty may be payable.
With kind regards,

BOOSEY & HAWKES, INC.
John White
Coordinator, Copyright & Licensing
Boosey & Hawkes, Inc.

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APPLYING THE ŠEVČIK ANALYTICAL STUDIES METHOD TO BARTÓK'S CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER'S GUIDE by MEGAN CHISOM PEYTON

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APPLYING THE ŠEVČIK ANALYTICAL STUDIES METHOD TO BARTÓK’S

CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER’S GUIDE

MEGAN CHISOM PEYTON

(Under the Direction of Maggie Snyder)

transcribed form, no published collections equivalent to Ševčík’s analytical studies exist

for any major viola works.

This dissertation addresses the lack of composition-specific preparatory exercises

newly-composed exercises in the style of Ševčík’s analytical studies are provided.

Passages are categorized according to difficulty, and references to commercially

CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER’S GUIDE

MEGAN CHISOM PEYTON

B.M., The University of Texas at Austin, 2005

M.M., The University of Georgia, 2009

A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

Megan Chisom Peyton

All Rights Reserved

CONCERTO FOR VIOLA AND ORCHESTRA: A PERFORMER’S GUIDE

MEGAN CHISOM PEYTON

Major Professor: Maggie Snyder

Committee: Mark Cedel

Electronic Version Approved:

Heartfelt appreciation is due to the members of my advisory committee, Dr.

process of completing my degree and this document.

I cannot possibly express adequately my appreciation of the tireless efforts of

support and help as mentor, teacher, friend, and editor.

work with computer notation software. Thank you.

Purpose of the Study .................................................................................... 1

Need for the Study ....................................................................................... 3

Review of Literature .................................................................................... 5

2 THE FIRST MOVEMENT ............................................................................... 8

Measures 73 - 76 (Serly edition) and 74 - 76 (revised edition) ................. 17

Measures 102 - 108 ................................................................................... 21

Measures 112 - 119 ................................................................................... 27

Measures 129, 133, and 136 - 140 ............................................................. 30

3 PARLANDO AND THE SECOND MOVEMENT ......................................... 47

Parlando, Measure 11 - End ..................................................................... 48

Measures 70 - 78 (Serly edition) and 68 - 76 (revised edition) ................. 59

4 THE THIRD MOVEMENT ............................................................................ 62

Measures 101 - 103 ................................................................................... 73

5 SUMMARY AND CONCLUSIONS .............................................................. 85

A LIST OF PASSAGES DISCUSSED ............................................................... 91

B DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL

Purpose of the Study

undertakings is the etude. Often, a performer is able to locate an etude or collection of

work on the concert piece.

In addition to the procedure outlined above, violinists have an invaluable resource

corresponding passage in the original work is attempted. Gaining in popularity as of late

establishing continuity of performance. Moreover, the consideration of edition selection

Concerto for Viola and Orchestra.

provides players with comprehensive resources of this type. Additionally, there is a

specific passages or pieces of music.

DeBardelaben’s recent doctoral research, which involves applying Ševčík’s analytical

studies method to Brahms’s Sonata in F minor, Op. 120, No. 1.7

constructing a collection of newly-composed exercises designed to be a preliminary step

The collection of etudes contains exercises that move systematically and

further address techniques required of the performer in these passages, references to

Though the Bartók Viola Concerto is challenging as a complete entity, this

passages and players.

In conducting research regarding etude collections of the nature discussed above,

Concerto.12 Though it predates Maurice’s book, Stephanie A. Asbell’s doctoral treatise13

provides a comprehensive discussion on the differences between the published editions of