The path that a musician traverses when starting and playing a new piece it’s a long process of discoveries and learning. In this case, this process is settled on a deep understanding and analysis of the Sequenza (that is based on Berio experts’ knowledge) and which supports the technical and musical decisions made for my approach to this piece. The steps are made by intervention cycles: the piece is divided in four big sections and each of them is addressed in one intervention cycle. The analysis of two important recordings of the piece was basic for this Research: Jean-Marie Conquer’s and Carlo Chiarappa’s (the latter one was the player that premiered the piece), and also the meetings that I had with some experts on this field: Joseph Puglia and Simone Fontanelli. I didn’t take the decision of starting to play this piece carelessly: it is a piece which requires a great deal of knowledge about violin technique and about contemporary music notation. The kind of work that I carried out was very helpful for me as a musician and as a violinist: I learnt about how to approach technically many problems that I can find, and how useful different sources can be which in other contexts I wouldn’t have considered as a learning source. This Research could be very useful for other musicians that are interested in Berio’s music, and of course for violin players who wonder how they can solve some of the problems that can be found on this or similar pieces.