![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8c7ac29tE4zm67_qyyvADHXX9mcyo4eaXKDbYUffCwFS6Bm6JC1vw7bKx4xccMMxZkeufUEEihJLtbCjBZ7mCvgzGvfkU_wZUeDLfSaWHfYmngLVclycVWYWUS-YLNVLbl3t8gQ/s400/Music+scale+comparison.png)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4DRyT_9j5sjsj7ZYm-vpCHRD4p7viGNL_Z2d0dkqvSwXfhFnELoUm-6Radj_vdoZUvyj-VQ2BLdD3EAJZwCpIN5tOLsdey7sb0Au-6OYcUYoK1NhB5regm58zwUUxrjpFNEGsMA/s400/Music+Theory+error.png)
The tonal equivalence is pretty good for the most part, especially locking in G and F as the major derivatives from the C based scale. The sacrifice of E, A and B at 1/2 a microtone are on relatively large dissonance valleys, so it should 'sound' Ok compared to losing a G.
It still amazes me that a simple rising scale of 12 equal tempers can accurately place the diatonic scale at 2 spaces apart sometimes while only one space apart on others. One thing that it does make is that each major chord has 4 semi-tones between the 1st and 2nd note, then 3 to the 3rd. (C->E=4 E->G=3, G->B=4 B->D=3, F->A=4, A->C=3)