On the diaphonic cycles. relavant papers: https://anaphoria.com/diaphonicset.pdf and https://anaphoria.com/diaphonic2.pdf Upon reflection and looking deeper into also a few points others have pointed out, i thought i would add a few comments. It should be noted that indeed Wilson was not completely satisfied with them compared to other material he ended up pursuiting. There is enough to piece together how he saw them though as there are still useful material here. Often he would use them instead of ETs especially in the context of a fretted instrument where what is equal is the fret distances with strings tuned to alternating 3/2 and 4/3 ( for a start). He had commented to me that it enabled one to form tetrachordal scales (which he saw as a different scale building method than MOS for instance). While with the smaller diaphonic cycles, they easily fall into making good scales often even being Constant Structures, Paul Johnson pointed out that this was not always the case. With larger Diaphonic Cycles we can see that Wilson used these less as scales and more as sets in which to extract smaller scales in the same way it is common for people to so with just the harmonic or subharmonic series on its own. Also relating to how as a substitute for an ET where the process of exstracting smaller sets is also quite common. Wilson thought that dual series offered more in terms of many structures such as a diamond where the gaps are often more filled and the same material is capable of being transposed to at least one other position. Even with his CPS structures we find two 1-3-7-9-11-15 eikosanies in his Dallesandro tuning.
