Joseph Pehrson's keyboard fixation :)

J. Pehrson:
>>>My favorite part of it is the
>>> fact that the TRITONE is the OCTAVE! That's just great in my
>>book...
>>> turning the "resolving" interval into the ultimate consonant diad!
>>> Whoopee!

P. Erlich:
>> Well, that would be true for any 6-note scale when played on a
>> standard keyboard.

J. Pehrson wrote,

>Well, so much the better! That means that most ANY 6-note scales are
>going to have a similar effect!

and in another message, Joseph Pehrson wrote,

>Is the point of the decatonic to make the traditional 7-limit interval
>the ultimate consonance... the C to Bb being the octave in this case.

Joseph, it seems you're placing far too much importance on the way these
scales are mapped to the keyboard. The "former" or "traditional" function of
any interesting intervals in these scales is _totally irrelevant_ because
the mapping to the traditional keyboard, and the fact that the traditional
keyboard is used at all, is _purely arbitrary_. These characteristics you've
been focusing on are completely incidental, and could easily disappear in a
keyboard mapping philosophy different from "one key, one pitch" (see my
paper for a couple of different ways to map 22-tET scales to the standard
keyboard). To someone listening to (as opposed to playing) the music, what
possible difference could it make what 12-tET keyboard interval a particular
xenharmonic interval is mapped to???