Dawson Berry: Difference between revisions

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'''Dawson Berry''', otherwise known by the pseudonym "'''Aura'''", is a composer and partially self-taught music theorist, who got his start in microtonality in the year 2014, with the song "[[:File:Folly of a Drunk.mp3|Folly of a Drunk]]" and got started with his concept of "Treble Down Tonality" a year earlier in the year 2013. Although he is in many respects classical-minded for a microtonal composer, he is a pioneer in the realm of Microtonality who likes to to explore intervals and temperaments where few have explored before, and to find the beauty in intervals that other music theorists have overlooked, ignored, or dismissed.

'''Dawson Berry''', otherwise known by the pseudonym "'''Aura'''", is a composer and partially self-taught music theorist who got his start in microtonality in the year 2014, with the song "[[:File:Folly of a Drunk.mp3|Folly of a Drunk]]" and got started with his concept of "Treble Down Tonality" a year earlier in the year 2013. Although he is in many respects classical-minded for a microtonal composer, he is a pioneer in the realm of Microtonality who likes to to explore intervals and temperaments where few have explored before, and to find the beauty in intervals that other music theorists have overlooked, ignored, or dismissed.

In line with this, he is an advocate for the usage of [[27/16]] as the major sixth above the Tonic in Just [[5-limit]] diatonic scales in place of [[5/3]] on account of his belief that while intervals with small rational ratios between the right two notes can establish tonality, intervals with small rational ratios between the wrong two notes in a scale can destroy a sense of tonality. Perhaps notoriously, he is also an advocate for the deliberate usage of the [[40/27]] grave fifth in composition when not working with Meantone, as he would argue that it is a distinct interval in its own right with its own distinct role and properties as opposed to simply being a mere poor-quality knock-off of the more well-known [[3/2]] perfect fifth. Moreover, he has significant interest in [[159edo]], which he uses for composition due to its near-perfect approximation of the 2.3.11 subgroup, and is currently pioneering large chunks of [[Alpharabian tuning]]- the JI tuning for this particular subgroup.

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	'''Dawson Berry''', otherwise known by the pseudonym "'''Aura'''", is a composer and partially self-taught music theorist, who got his start in microtonality in the year 2014, with the song "[[:File:Folly of a Drunk.mp3\|Folly of a Drunk]]" and got started with his concept of "Treble Down Tonality" a year earlier in the year 2013. Although he is in many respects classical-minded for a microtonal composer, he is a pioneer in the realm of Microtonality who likes to to explore intervals and temperaments where few have explored before, and to find the beauty in intervals that other music theorists have overlooked, ignored, or dismissed.		'''Dawson Berry''', otherwise known by the pseudonym "'''Aura'''", is a composer and partially self-taught music theorist who got his start in microtonality in the year 2014, with the song "[[:File:Folly of a Drunk.mp3\|Folly of a Drunk]]" and got started with his concept of "Treble Down Tonality" a year earlier in the year 2013. Although he is in many respects classical-minded for a microtonal composer, he is a pioneer in the realm of Microtonality who likes to to explore intervals and temperaments where few have explored before, and to find the beauty in intervals that other music theorists have overlooked, ignored, or dismissed.

	In line with this, he is an advocate for the usage of [[27/16]] as the major sixth above the Tonic in Just [[5-limit]] diatonic scales in place of [[5/3]] on account of his belief that while intervals with small rational ratios between the right two notes can establish tonality, intervals with small rational ratios between the wrong two notes in a scale can destroy a sense of tonality. Perhaps notoriously, he is also an advocate for the deliberate usage of the [[40/27]] grave fifth in composition when not working with Meantone, as he would argue that it is a distinct interval in its own right with its own distinct role and properties as opposed to simply being a mere poor-quality knock-off of the more well-known [[3/2]] perfect fifth. Moreover, he has significant interest in [[159edo]], which he uses for composition due to its near-perfect approximation of the 2.3.11 subgroup, and is currently pioneering large chunks of [[Alpharabian tuning]]- the JI tuning for this particular subgroup.		In line with this, he is an advocate for the usage of [[27/16]] as the major sixth above the Tonic in Just [[5-limit]] diatonic scales in place of [[5/3]] on account of his belief that while intervals with small rational ratios between the right two notes can establish tonality, intervals with small rational ratios between the wrong two notes in a scale can destroy a sense of tonality. Perhaps notoriously, he is also an advocate for the deliberate usage of the [[40/27]] grave fifth in composition when not working with Meantone, as he would argue that it is a distinct interval in its own right with its own distinct role and properties as opposed to simply being a mere poor-quality knock-off of the more well-known [[3/2]] perfect fifth. Moreover, he has significant interest in [[159edo]], which he uses for composition due to its near-perfect approximation of the 2.3.11 subgroup, and is currently pioneering large chunks of [[Alpharabian tuning]]- the JI tuning for this particular subgroup.