Aura

I'm Aura.  If you wish to address me by my real name, call me Dawson.  While I started my first mircotonal piece in 2014, I'm only just starting to get more serious about microtonality.

I found microtuning while delving into the harmonic series, and I developed a particular fascination with the eleventh harmonic.  So much so, that in 2014, I wrote the first version of my first microtonal piece in 24-EDO, "Folly of a Drunk", under the working title "Folly".  Notably, the first version of this piece featured a modulation from a microtonality-enhanced version of key of A- alternating between Major and Minor- to a microtonality-enhanced version of the key of G-Demisharp Minor, all by use of chords built on 24-EDO's versions of both the eleventh harmonic and the eleventh subharmonic.  

(I'll be happy to share this piece in the future once everything's in place, as I only just recently finalized the 24-EDO version. Trust me, this little ragtime-esque song is an earworm, and yes, it still has the aforementioned modulation, albeit with improvements...)

My main interests in the area of xenharmonic music at present are focused on compositions involving both more harmonically pure versions of the thirty-five 12-EDO proper heptatonic modes, and working with the 7-prime-limit and 11-prime-limit harmonies, though I'm not above messing with 13-prime-limit, 17-prime-limit and even 19-prime-limit harmonies.  In the future, I'd like to take what I've learned and use it to further develop Treble-Down music- who says Bass-Up is the only direction to build chords and harmonies and melodies?

So far, all I have is the composition software itself, but it would be great to have advanced synthesizers, vocals, and even instruments in the New Violin Family (see here: [https://nvfa.org/8tet.html]) available for performance.  The only problem?  Money...  Go figure...