ABSTRACTPerforming Bela Bartók's Concerto for Viola and Orchestra poses myriad technical hurdles. The initial approach to studying this work must include practice strategies that isolate its numerous technical challenges and work through them. This is why forging a targeted practice plan is vital in order to avoid inefficient and counterproductive methods of study. To that end this treatise provides a practical guide for violists interested in learning and performing this concerto. Chapter 1 describes the purpose and need for this study. The chapter also provides a brief background on the difficult genesis of the work and the ongoing debate on the accuracy of the existing editions. Chapters 2 and 3 introduce the methodology chosen for this study and its delimitations. Chapter 4 offers some insight on existing research to be used as complementary material. Chapters 5 and 6 present aspects of Ivan Galamian and Otakar Ševčík's pedagogical output that relate to this treatise. Chapters 7 to 12 introduce newly created exercises, directed to the violists performing the piece and conceived to overcome technical challenges encountered in the concerto. This treatise acknowledges the contribution to the advancement of violin pedagogy of Otakar Ševčík, Ivan Galamian and Simon Fischer. While my research is comprised of original exercises for viola, it is based on principles that are complimentary to the technical approach of Otakar Ševčík and Simon Fischer. Footnotes and Appendix C will provide further guidance on this. INDEX WORDS: Bela Bartók, viola, viola technique, viola pedagogy, viola concerto, viola study, viola etude, Bartók Concerto for Viola and Orchestra, Otakar Ševčík, Ivan Galamian, analytical study.