<br><br><div class="gmail_quote">On Mon, Oct 27, 2008 at 6:34 AM, Jeff Deutschle <span dir="ltr"><<a href="mailto:oaronshoulder@gmail.com">oaronshoulder@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"> <div><br></div> <div>J.F:</div> <div> </div> <div>You mention the importance of identical octave widths when tuning CM3's. Would this mean that if octave widths are tuned differently to compromise for a challenging break, that CM3's cannot be used?</div></blockquote> <div><br></div><div><br></div><div>I was referring to the two primary octaves used in setting an F3-F4 temperament: A3-A4 and F3-F4.  It becomes self-evident ....   Let's say you tune A3-A4 as a 2:1 octave, then tune F3-F4 as a 6:3 octave.  It is then impossible to get contiguous M3s that are in a 4:5 ratio.   <br> </div></div><br>-- <br>JF<br>