Numerous historical sources praise Pasquini’s distinct playing and accompanying style as “the most authentic, beautiful and noble way to play and accompany” (Gaspariani 1722). What can we infer about building the required knowledge for realizing a stylistically “correct” improvisation based on analyzing his pedagogical works? By borrowing a theoretical framework from didactics, this article attempts to describe pedagogical elements likely to encourage building stylistic knowledge and grasp the singularity of Pasquini’s didactic approach.