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For example, I really like the Gluck "Melody" from "Orfeo ed Euridice" arranged by Kreisler.
But when I try to play along with the accompaniment, I'm always rushing several places. If I count eight notes (quavers for those across the pond), I can get closer, but if I try the quarter notes and it's marked 3/4 (crotchet)... I get hopelessly lost.
Any suggestions how to keep with the music?
Bob in Lone Oak, Texas
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My observations are probably worthless, but sounds like the accompaniment is off - compared to what I see on the sheet music.
Kinda weird, they inform you A=442Hz, but only give you 3 beats instead of telling how many bpm.
Have you checked the whole piece with a metronome?
🤔...thought Lento meant slow, not uneven. (lol)
I'd make notes to myself, of where it speeds up, where there's no indication it should - otherwise you probably just have to listen to it enough so that you can anticipate where it's going to happen.
...just watched/listened to video of Heifetz playing this - his accompaniment does NOT appear (to me) to have an uneven tempo, like this one.
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@bob this is way more advanced than anything im doin..but in the comments of the video this exchange was listed... so possibly what is going on for you.
What tempo is it?
The tempo is not static but moves around 74 the quaver
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i think id have to listen to that accomp several times...try the 1st 4 measures. then add a few and so on so forth till i had the whole thing built up. but thats me sitting here listening to the video and not ever tried to play it or anything like it. before..
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I'm feeling pretty stupid for not reading the video comments, but I still only see one place near the end that shows 'poco rit.', for slow down & then 'a tempo', for resume the standard tempo.
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Remember, a tempo marking isn't a speed, it's a mood.
In any live performance, the tempo is always going get pushed and pulled a little with the phrasing, especially in slower tempo; that's what makes it sound natural and not mechanical. When playing with a real pianist, the two musicians can adjust to each other. Unfortunately, when playing with a backing track like this, the best you can do is just to listen while you're playing. And that means you have to learn your part well enough that you can listen without being distracted.
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Re: Heifetz, the typical performance practice in that era was to try to keep a steadier tempo. Modern performers tend to take more liberties.
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@AndrewH -
Thank you for clarifying everything for me!
I appreciate learning from you. 😊
Bob,
The video in your OP really is lovely.
I liked all the little variances, but this video (from kopikostar), has a more steady tempo. AND, it might help you with your timing by listening to the violin audio in this while you play-along.
Sorry, this is all I can come up with - just until you are more comfortable with Gluck's Melodie, this video version may be a good substitute - use the custom speed setting to slow it down a little if you need to, at first.
...can't wait to hear it when you get this piece under your belt!
- Emily
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By all means count the eighth notes.
This piece is ABRSM grade 6. I'm planning to study it in August.
If anyone was thinking of buying the CD of the opera, be aware that there are two versions - originally it was performed in Italy without this particular tune. Then this tune was added to it as a balletic interlude for the Parisian re-release.
Andrew
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@ELCBK, @ABitRusty, @AndrewH, @Gordon Shumway thank you for the suggestions.
The piano in my example does vary the tempo a bit, but I'm having problems even when the tempo is steady. Even though the piano base part should act like a metronome since it is on the beat in most of the piece, I tend to get ahead and can't seem to get my "internal" beat to sync up!
I've been listening to this over and over again without even holding a violin, just "singing" along. I think I'm getting closer, but it's still hard to hold the half and dotted halves for their full value.
I realize the Lento notation is more a mood than a tempo. I associate it with requiems and solemn pieces. But when the tempo drops below my normal heart beat, my internal clock rebels 
Emily, thank you for the alternate version with the violin. It's my impression that the piano in that video might be midi because it IS so steady, but kopikostar says he played the violin, so maybe not. I think by playing along with his version, I might have a chance.
Gordon(Andrew) thanks for suggesting I count the eighth notes. That seems to be the only way I can break the rhythm down. Even then I have occasional lapses when I see a group of 32nd notes that I tend to rush through.
I'd really like to get this tune down. Not only do I think it is beautiful, but I'd like to use it to practice my almost non-existent vibrato. Guess I'll buy a twoSet "Practice" shirt!
Bob in Lone Oak, Texas
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😒 I'm bummed out they don't carry this one anymore:
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The 2020 ABRSM edition of it (arr. Fritz Kreisler) says Andante con Moto, bpm (i.e. quarter notes) = 46, "opt. con sordino".
But I see the Youtube version says pretty much the same thing. Actually that Youtube offering is pretty poor - too slow, the piano is staccato, and the violin rhythms aren't right - they don't match the piano ones - where the piano plays 16th notes, the violin's appogiatura is 1/32.
In fact I began this thread about the piece a year ago: -
Andrew
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The best way to count these slow types of compositions is to sub-divide.
You simply count 6 instead of 3. Of course you need to learn to subdivide while reading which is really not that hard but it requires some practice. You could always count 1 and 2 and 3 and......
eighth notes get one beat, half notes get 4 beats, 16th notes get a half a beat, or 2 per beat. It becomes second nature when you get used to it.
"The richest person is not the one who has the most,
but the one who needs the least."
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...sounds soooo easy. 🤣
😲 I'm not quite good enough at multi-tasking.
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@Fiddlerman thank you for your input. I was attempting to count by eighth notes, but I guess it's not yet second nature for me 
. AndrewF reinforced my thought to count by eights also, so I will stick to it.
For some reason I'm having trouble doing this with the 3/4 time sig. When I run into dotted notes (mainly quarter notes) I tend to forget my count. When I play 6/8 I have no trouble counting two beats to the measure. It just seems to work and seems natural.
As the t-shirt says "Practice, practice, practice" (and I don't even want to get to Carnegie hall)!
Bob in Lone Oak, Texas
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Sometimes, if I'm having trouble subdividing, I start out counting a measure of whole beats so I have a reference in my mind to work from, then start subdividing. 1, 2, 3, 1-and-2-and-3-and...
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Writing light penciled in beat lines when the parts are very difficult is common practice for professional musicians.
"The richest person is not the one who has the most,
but the one who needs the least."
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AndrewH said
Re: Heifetz, the typical performance practice in that era was to try to keep a steadier tempo. Modern performers tend to take more liberties.
This isn't mean to contradict you, Andrew. I was just reminded of it. It's a bit hilarious, and I'd rather emulate Perlman than Kreisler.
Andrew
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