Metamatic

How did I miss this review?? Anyway, guys, I’m a saxophonist and I can tell you what I know: 1. Circular breathing isn’t that essential for a saxophonist, it’s more important for a trumpeter, because, unless in completely exceptional cases, breath is a fundamental component of phrasing, not just a practical matter. And it only takes a 1/32 note to fill your lungs :D. 2. Circular breathing works like this: you keep a certain amount of air in your mouth and a bit in your throat so that when you inhale, you can use this reserve to blow. You can try it too, it’s not that complicated, it just requires perfect synchronization of inhalation and exhalation, something anyone can learn with practice. And staccato has nothing to do with it; it’s the same whether circular or not. @contemplazione.rollins includes ware among the “young”? He’s not that much younger. :D

a metal riff will bury you

I thank the Supreme Will of the Universe for not making me a power metaler.

keep it up!

Certo! Inviami il testo che desideri tradurre e provvederò a farlo.

Ahh I'm sorry but I don't agree with you at all. To make music, you need theory first and then a certain level of creativity that depends on the genre you play. In short, if what you think were true, for example, improvisation would be within everyone's reach. Not long ago, I was chatting with a dear friend of mine. He asked me what I was studying, and I replied: "jazz harmony and improvisation," and he said: "studying improvisation seems like a contradiction"; it's not at all like that!!! It needs to be studied, and also in depth, any jazz musician can tell you that. It's like sports: you need rules (paradigms to be more precise) on which to then develop your creative abilities.
"Shouting, noises, broken glass for 11 minutes: Did it really take Zorn to create a track like that?" Yes, it did take him, as I already told you. Let's take a more extreme case, Cage. He recorded the sounds of the streets of New York from his window and passed it off as his music, not to mention his famous "absolute zero" in music, 4'33''. Could anyone have done that? No, only he could. It's a matter of concept. And this comes from a pragmatic guy, mind you...

I'm talking about music theory, obviously.

You know, lux, there’s a Zen saying that goes: "studying countless books to prove that studying books is useless." I think that the moment one of us has the same theoretical knowledge as a legendary figure like Zorn, then it will be legitimate to ask this question. ;-)

excuse me :D

... and Stravinsky, isn’t anyone mentioning Stravinsky? Can we include Debussy as well? :D Anyway, I've never liked comparisons between artists (especially if absolute). Changing the subject: "post-romantic of the early nineteenth century"?? wow, that statement totally slipped my mind.