A stereo electroacoustic composition with recordings of airplanes made with the use of binaural microphones. In addition, the same type of microphones was used for recording additional sound material used for the piece, including piano, and stones sounds. This work was characterized by transitions from the real world to the abstracted and vice versa. Both pitched and non-pitched materials were used. The airplane sounds were treated in two different ways: I. They provided an actual real-world airplane soundscape. II. They were transformed and used as background sonic elements, combined with transformed piano sounds. At the same time, the stone sounds were also used as real-world soundworlds as well as abstract structures. The relationship between the actual airplane sounds and the actual stone sounds was gradually built via the smooth transitions with use of abstracted soundworlds (with use of transformations and airplane sound speed-ups) but also via sudden transitions. Consequently, abstract sounds were used as a communication bridge for two real-world sounds of different origin. Stone sounds were chosen to create contrasting textures which oppose the continuously flowing airplane sounds. The relationship between real-world and abstracted mediums was built through an internal dialogue between abstract background transformed airplane and piano sounds – which are present throughout the whole piece – and foreground real-world airplane and stone sounds. Pitched sounds were also applied to both real-world and abstracted sounds at certain sections of the work. Moreover, the transition between real-world airplane sounds and abstract sounds was also achieved by the application of filters, which led to the creation of ‘human breathing’ effects, with the proper manipulation of the sound. Finally, pitched and non-pitched materials were also used as a medium of interaction for real-world and abstract soundworlds.