These music reading exercises were written with the purpose of covering the gaps and weaknesses that the traditional solfege method unfortunately presents.

The main problem with the various solfege methods is that, even after years of practice, they do not sharpen to the extent necessary the perception of the first and basic elements of the components of any unit of tones - whether they are traditional melodic lines and chords, or new constructions made up of successions or consonances of tones. These first and basic elements are the intervals.

Although traditional methods often include the study of intervals as the basis of exercises, the structure of the exercises is such that the interval loses its significance to the point where its presence is not even consciously realized, thus completely weakening its functionality in the process of musical perception and reading. This happens because the degree of "melodicity" of the exercises is so high that they are perceived and learned by the students as units, smaller or larger, and ultimately as musical pieces, resulting in the lack of awareness of the progression from one tone to another, which leads to the understanding of the unit.

And it is precisely this "from one tone to another" progression that is the essence and basis of every music reading, and this progression is facilitated by the recognition and ability to correctly perform the "from one tone to another" distance, i.e. the interval. Therefore, the correct process of music reading is the immediate, as automatic as possible perception, internal sensation, and corresponding ability to perform the intervals between the tones that constitute a unit.

That is why the exercises in this method use compositions of intervals (in a systematic arrangement from the simplest and easiest to the most complex and difficult) with limited melodicity, in the traditional sense, and with a method that leads directly to their realization and the automation of recognition-sensation-performance, which, as mentioned above, is the basis of reading.

In the sequence of exercises, the newly introduced intervals as well as rhythmic patterns are combined with those already known from previous exercises. The measurement of rhythm is done with the traditional movements of the (right) hand, corresponding to the parts of the measure. The speed of reading (musical tempo) is not determined, but it should be in relation to the ease of recognizing the intervals. Therefore, it will be slow in the initial phase and later faster.

The exercises should initially be done without instrumental accompaniment.

However, it is allowed to check the correct execution of the exercise with the help of an instrument, provided always that this check does not facilitate reading.

It is obvious that a prerequisite for music reading is the precise knowledge of music notation and the theory of intervals, which constitute the subject matter of purely theoretical aids.

Finally, these exercises should serve as a model for the teacher and as an example for the improvisation of similar exercises, which the student or students should read at first sight (prima vista) but also with which music dictation should also be done, in order to complete the sharpening of the ability of reading and listening.