The more I look at Bohlen-Pierce theory, the absence of any discussion of utonal stuff strikes me as more and more peculiar. Even more so, very many of the 'major' scales include the utonal chord from the same root, and the 'minor' scales don't necessarily exclude the otonalities either.

Some have complained about modulation and such not being very clear in Bohlen-Pierce, and I wonder if this inclusion of both utonal and otonal structures for the tonic might be part of that? OTOH, borrowed chords in 12tet don't tend to cause big problems so ...?

The Bohlen-Pierce temperament is an interesting sort of odd option to try out, which has a very good approximation of 3:5:7 and 5:7:9-chords, but I've never seen anyone talk about the utonal 7/7:7/5:7/3 or 9/9:9/7:9/5 chords - in fact, it's like the assumption is that 5:7:9 in fact is the bohlen-pierce analogy of a minor chord despite being a tritave inversion (if that's *perceivable* as an inversion at all). This is a bit weird, imho, and I'd be interesting in seeing whether there's any relevant reason for this.

Alas, Elaine Walker doesn't elaborate enough on the chords she used in her research paper - she only really mentiosn the 3:5:7 wide triad and 5:7:9 narrow triad, but the piano roll transcription sort of suggests some other things going on there - but they're hard to read.

I think, considering the nature of the intervals being well approximated by Bohlen-Pierce, it might be possible to transcribe compositions from it to 31-tet without many problems - will have to try this idea out at some point. That'd be pretty neat. Non-octave scales in equally divided octave temperaments are quite underused!

(Also, I should try out 3/2 in 4 or 5 and somesuch, might be interesting)