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Thanks for listening!

I had access to a score for this - although had I been doing this by ear, I probably would have had a tough time with the harmony part on the main ostinato instruments and not much else. The rest is thankfully pretty clear.

@@kathrayres Well, even so, you have a pretty good ear. It is kinda hard to hear all the harmonies and chords. I would have needed a score as well. I think I have a good ear as well. Good job.

Thanks you for listening! This is indeed my music.

Shoot me an email @ ayrescomposition@gmail if you really want it, but I highly recommend doing it yourself from the score, since you learn a lot more by copying it out and can make more sensitive decisions when you consciously see everything that's going on!

Ryan Ayres I sent emails to ayrescomposition@gmail and airsmusicpublishing@gmail. Thanks, if there are problems you can reach me at stevent3115@gmail

Hi Ryan - I sent you an e-mail request as well. It will come from ppg223@gmail. Many thanks. - Phil

CrackSnortingSailor I disagree - this was a reconstruction directly from the score. I was surprised by some of the actual written pitches as well. I know that if I remade this, I would make some changes in the mixing so that the same lines are in the foreground as in the original recordings.

Ryan Ayres I can't hear the main pitches at all.

This is my version (not the whole thing and I've moved bits around). If you're interested :)

#np on #SoundCloud soundcloud.com/ghostofadelaide/spaceship

Where did you get the score?

I have some music for sale/download at kevinkevinkevin.bandcamp.com, and some more music on display at soundcloud.com/ryan-ayres/ If you have anything in particular that you want a copy of that isn't downloadable there, shoot me an email at ayrescomposition@gmail.com and I can probably find it in my heart to send it to you!

The distinct articulation patterns in the flute and oboe parts were not enough to me to differentiate the two timbres which I had set to be equal, so I substituted timbre for pan, keeping the sections each to one side to avoid ambiguity in the mixing. Much like in an ensemble playing the piece, I wanted the sound of each section to come from a distinct place, though I admit I could have done something a bit more sophisticated. I will admit to only being able to work with stereo speakers and not stereo headphones (my last pair broke), so I haven't been able to achieve the full effect of my mixing in a listening setting. Oh well, I may redo it for myself, but I don't think I'll bother re-uploading it to youtube.

Airs Music This is fantastic man would love to hear any interpretation or variation

Thanks for the kind words! I'm kind of doing both, since there are certain things from the studio recordings ('93 and '76) that differ from the score and I like more than the original work's directions (for example, the Bed cadenza, or the sax/bass clarinet section of Trial/Prison, where the rhythms are altered). I'm hesitant about sharing the midi score for copyright reasons. While I have a university-sanctioned copy of the score, making it essentially freely available seems like a more serious violation of copyright than I dare try. Sorry!

In particular, the reverb levels of the wind parts are pretty high. I'll fix it someday when I care. I don't want to have to redo that effect at the end! It was difficult to make...