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I'm Aura- short for DaffodilAura218, which I go by on sites like Reddit and Discord, and I'm a native English speaker. For those of you who wish to find me on Discord, I'm DaffodilAura218#7768. If you wish to address me by my real name, call me "Dawson", but let's keep that form of address to private messages unless my user nickname says otherwise. While I started my first mircotonal piece in 2014, I'm only just starting to get more serious about microtonality.

My response to the Progress Report...

What was your path to discovering alternate tunings?

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 24edo, "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 24edo's versions of both the eleventh harmonic and the eleventh subharmonic.

As for this song's score, this is it.

File:Folly of a Drunk (Musescore 3).pdf

Do bear in mind that the copyright on this song is outdated, and that I would consider it more akin to the Copyrights granted by people who post pictures on DeviantArt.

What are your current/past/future particular interests?

One of 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, surprisingly, perfecting the art of using grave fifths and acute fourths in otherwise traditional-sounding music. Another main interest of mine is 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 addition to the aforementioned, I've since taken a shine to 159edo due to its near-perfect approximation of the 2.3.11 subgroup, and have worked on that particular page here rather extensively for a page on a mega-EDO. 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?

What instruments or means have you had/do you have now/do you want for the making of microtonal music?

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 The New Violin Family available for performance. The only problem? Money... Go figure...

Any good microtonal anecdotes?

Finding and naming my first comma, the quartisma, on September 6th, 2020. This is something I remember rather fondly- especially since prior to me finding it and naming it, it was only mentioned on one page in this entire wiki. Of course, in the months since then, I named like four other other commas- the nexus comma, the Alpharabian comma, the Betarabian comma, and the symbiotic comma- I have to admit it's fun coming up with comma names, and to think there's so many of them yet to be named that it would make your head spin...

Ideas and Music Theory

Aura's Music Theory: Introduction

Aura's Ideas on Functional Harmony

Aura's Ideas on Tonality

Aura's Ideas of Consonance

Aura's Diatonic Scales

Aura's EDO Impressions


Space Tour

This is a long song in a near-perfect approximation of 159edo and which contains retemperings of 12edo, 14edo, 17edo, 19edo, 22edo, 24edo, 27edo, 31edo, 35edo and 41edo, with a stretch in a near-perfect approximation of 53edo before using the full near-perfect 159edo approximation. There are other EDOs used and mimicked in the transitions.

This song has a story to go with it, and the story goes like this:

You pay to get on a spaceship to take a tour of some parts of space, and as you're getting ready, you imagine all the kinds of sights you'll see and that you'll have the experience of a lifetime, but after you arrive at the spaceport, you hear rumors about the company running the tour, and not the good kind. As you see many and various beautiful sights, ranging from nebulae, to strange planets and other things at different stops along the tour, and even take your share of pictures, you take time to reflect on what you'll tell your family back home about what you've seen. At the same time, you can't help but wonder about the rumors floating around. Eventually you overhear some of the staff talking about problems with the ship, and dissing the company for negligence. Sure enough, the ship is forced to turn around and head back to Earth, but as they arrive, suddenly, things start going wrong with the ship, and you're forced to get into an escape pod. After ejecting from the ship, your escape pod lands in the forest somewhere in Canada, and worse, the GPS on the escape pod that would otherwise alert rescuers to your position is busted, so you're effectively stranded. Eventually, however, you are found, and after a long string of interviews about your experience, you finally return home in one piece, but not without having had the experience of a lifetime and acquiring a mild case of PTSD.

As to which EDO is being used or mimicked where:

  • 0:00-0:14 1edo
  • 0:14-1:12 12edo
  • 1:12-1:27 2edo
  • 1:27-2:25 14edo
  • 2:25-2:39 1edo
  • 2:39-3:54 17edo
  • 3:54-4:53 19edo
  • 4:53-5:07 1edo
  • 5:07-7:16 22edo
  • 7:16-7:30 1edo
  • 7:30-9:29 24edo
  • 9:29-9:43 1edo
  • 9:43-10:41 27edo
  • 10:41-10:56 1edo
  • 10:56-11:53 31edo
  • 11:53-12:07 159edo; tonicization of note located roughly 11/8 above the original tonic
  • 12:07-13:19 35edo
  • 13:19-14:32 41edo
  • 14:32-14:52 159edo; tonicization of note located roughly 224/135 above the original tonic
  • 14:52-17:04 53edo
  • 17:04-17:22 159edo; tonicization of original tonic
  • 17:22-20:21 159edo; diatonic key with added 11/8, 13/8, and 55/32

At the end of the day, it appears that 159edo really is quite a sophisticated and expressive music system.

Welcome to Dystopia

The original version of this song was a 12edo piece I wrote as part of the same collection as "Folly of a Drunk", however as I didn't have Audacity, or even a microphone back then, certain key elements were missing. It got its start from a riff that I started humming- that riff is the first element you hear in the beta version.

After I got Audacity, and learned more about microtonality, I eventually decided to remake the song, reinstrumenting a number of parts, removing most of the repetitious material and replacing it with generous additions involving new instruments, and adding multiple Xenharmonic modulations, the most frequently used of which being modulations upwards by 11/8 and or down by 16/11. I also added a few effects, and was also finally able to add the single vocal part that I had wanted to add almost from the beginning without having to speak it manually.

Although shorter than "Space Tour", this song still shows off more of the capabilities of 159edo.

The Forest of Loss

The original version of this song was a 12edo piece I wrote as part of the same collection as the two videogame compositions below. I like to try and build loops into songs of this variety where possible for the sake of continuity.

After finishing "Welcome to Dystopia", I wanted to remake another song, so I selected this song. As I had previously scrapped most of the compositions from that collection, I had to re-download the Beta from the private Discord channel where I had previously shared it with a family member. From there, it was a matter of listening to it and re-learning the original notes and rhythms of the song and making a new, detuned version with more instruments in MuseScore 3. Of course, since this is still videogame music, there's still a loop built into the song, but a single iteration of the looped material now lasts roughly eight minutes. What's more, this new version is now entirely drenched in reverb.


Shortly after I joined the Wiki, I wrote and experimental song in 24edo, and it runs through 1edo, 2edo, 3edo, 4edo, 6edo and 8edo- though not in that order- before going to quartertone-enhanced traditional tonality in 24edo itself.

However, I would later go on to add reverb using Audacity.

Videogame Compositions

A pair of weird and creepy microtonal songs that are the remnants of my participation in the music composition for a videogame- don't worry, I still own the rights to these songs since I asked to have them back when my work relationship with the budding company fell through. If I recall correctly, both were written in an approximation of 94edo.