RE:

John Link wrote,

>On
>the other hand F is added to the dominant G triad in such a way as to make
>the new chord less stable, or more tense, than the G major triad. If F were
>tuned as 9/5 relative to G, the G7 chord would be too stable for its
>purpose of drawing us back to the tonic C.

Based on 10 years of experience, I'd say that if F were tuned 7:4 relative
to G, the G7 chord would be too stable for its purpose of drawing us back to
the tonic C. If the F were tuned 9:5 relative to G, the G7 chord would sound
horribly dissonant. I'd tend to go for Mark Nowitzky's suggestion and tune
the F around 16:9 relative to G to get a convincing resolution back to C.