Pasquale Bona · section 2 of 4

Introduction

It is certainly of the greatest importance in musical instruction that young pupils should acquire a correct and practical method embodying the principles of the rhythmical division of the single notes that constitute the beats of a musical theme, a knowledge of their respective values, and of imparting to each note, so to speak, a special significance and individuality considered in its relationship to the others.

Such instruction assumed under the title "Method for Rhythmical Articulation" has been very rare in our Italian schools in years passed, having been taught exclusively in the large conservatories where its great utility and importance has been duly recognized, and where it has been adopted as a most essential part of the musical education of the young, as well as one of the most important branches of musical theory. *)

It is unnecessary, perhaps, to speak at length of the many advantages to be derived from a good method of rhythmical articulation; it leads to a knowledge of the relations which naturally exist between the notes of a musical beat and an appreciation of their individual character; moreover, it enables executants to divine the time-value of peculiarly grouped notes that are not always easily distinguished at a glance, and to recognize the different forms of tempo upon the force and precision of which the correct execution of the theme depends, a thing often difficult for the pupil to accomplish; also to effect sudden changes in the time quickly and accurately, a result only to be attained after thorough schooling in rhythmical articulation.

A consideration of its many advantages has induced the publication of the present method, which, although of comparatively small size and of modest appearance, contains, in a word, all the essentials of a perfect school of rhythmical articulation; also the fact that my labors have everywhere received the most flattering indorsement, and finally the great honor of its adoption as a text-book by the Royal Conservatory at Milan.

*) See following page for explanation of Rhythmical Articulation.