Seething With Sour Dissonances

Gregg Gibson wrote,

>17- and 22-tone equal do possess a certain melodic
>independance, but are so seething with sour dissonances that they are
>really not worth discussing.

Really? I find 19-tone to contain a larger proportion of sour
dissonances than 22-equal, as discussed in my "monkeys banging on
keyboards" post. The main point is that 22-equal permits one to arrange
the 7-limit harmonies into a logical scale, whose smallest step is 109
cents, while 19-equal does no such thing. Since you, like me, enjoy
scales which contain many consonant harmonies, I suggest you read my
paper, and remember that even in 12-equal jazz musicians use dominant
seventh and minor sixth chords as tonics. So far you have proposed no
new scales in 19-equal that are not already well-represented in
>12-equal.


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