The piece makes use of a variable number of performers and instruments - at least five hanging cymbals of medium thickness, with different intonation (diameter about 60 to 25 cm); it consists of a field of possibilities in which the performer makes a choice conditioned, as far as the path is concerned, by the physical limits of the performance.

»I had begun in 1962/63 to experiment with various techniques that I had developed and later brought to the improvisation group Nuova Consonanza, eliciting sustained tones from both idiophonic instruments, especially cymbals, and the piano. The title means air or song in English. There is an allusion to this possible phonic interpretation resulting from this, let's say for that time, alternative way of treating the instrument. In the pages of the graphic score, all these events are listed as singular, non-recurring, freely choosing the path, but respecting the criterion of informality, non-repetition and total asymmetry, absolute irregularity. The most interesting form is to bring this ductus to bursting, to blow it up. One must be clear about where the events take their course from, and choose an inner, musical, not cerebral pace. One must consider the reading in a progressive sense, choosing one's own tempo, counting, if one wishes, slowing down or speeding up, but always following the suggestion of the notated, written gesture.« (Mario Bertoncini, interview with Simone Beneventi, Anita Cappuccinelli and Zaum Percussion, 2018)