, 21 January 2007 (UTC) 

 Re: "Deriving the pitches in a pentatonic scale from stacked fifths leads to a Pythagorean scale of {1/1, 9/8, 81/64, 3/2, 27/16}. Deriving the pitches from the major scale leads to a just scale of either {1/1, 9/8, 5/4, 3/2, 5/3} (a 5-limit pentatonic) or {1/1, 9/8, 21/16, 3/2, 7/4} with blue notes of the flatted fifth and flatted seventh.":  

 First: A Pythagorean diatonic scale is (a tuning of) a major scale. In fact, it’s the only major scale tuning advocated consistently by music theorists for two thousand years, in very round numbers, from 500 B.C. until 1500 A.D., when it began to be supplanted by the just scale.  

 Second: The term “5-limit’’ is a microtonal-fringe neologism. We can properly speak of just intervals, which diverge from Pythagorean intervals by a syntonic comma, approximately 21.5 cents, or a diatonic just scale, which is derived by stacking 4:5:6 major triads thus: F A C, C E G, G B D, and that’s it.  

 Re: "The blues scale can be tuned {1/1, 7/6, 4/3, 7/5, 3/2, 7/4}.": 

 Blues notes are alternate inflections, which means they do not generally correspond to specific frequency proportions, but are subject to all sorts of expressive “deviations”. There is some justification for the “7/4” flatted seventh because trumpet players tend to play this blues note with the seventh harmonic, but as a whole this tuning is merely theoretical speculation. 

 I recommend that the Tuning section of this article be deleted altogether.  06:59