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)