22-tone equal & chromaticism

Gregg Gibson said:
> >}but 22-tone
> >}equal is not a temperament at all, but a mere tuning artefact that
> >}reproduces the worst defects of just intonation.

Paul Ehrlich replied;
> >But these "defects" (the non-vanishing of the syntonic comma) can only be
> >seen as such in the context of diatonicism! Since we are speaking of escaping
> >diatonicism, the relevant properties of a tuning system will be quite
> >different.

The failure of 22-tone equal to provide both consonant thirds and fifths
has nothing to do with diatonicism; the presence of consonant melody and
harmony is no less vital for the use of chromatic modes than for the use
of diatonic ones; I assume you will agree if you consider the matter. If
anything, because chromatic modes have but four (at most), not six
degrees (as in the diatonic modes) on which consonant triads are
erigible, chromatic modes in 22-tone equal would be even more
disorganized than diatonic ones. For enharmonic modes the matter is less
clear-cut, I concede.


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