But obviously, once you have that pitch present in the scale, its copy one octave higher (#7) is musically useless, and relevant only if you consider those freqs not as a tool or resource to work with and interpret yourself (which I find the only meaningful option) but a set of rules that need to be obeyed (as opposed to: understood). Degree 4 does represent a pretty useful interval, 132/35, or rather: 66/35 = 1098 cents, a pretty good approximation (-2 cents) of the major seventh in 12-tone Equal Temperament, and/or a good approximation of the 17th subharmonic (32/17 = 1095 cents). The 421Hz is easily within that tolerance range (0.02% deviation from 420), so it could have been 420Hz as well, without a problem. That's particuarly funny, as the charter specifies a max tolerance of +/- 0.455%.
Then there's kind of a wannabe-›copy‹ of that latter fifth yet another octave higher, but about 4 cents sharp (#6). There's no rational reason to do this, since in each pitch class, all that pitch's versions in different octaves are considered equal: a C at 265Hz is as ›good‹ as a C' at 530Hz etc. The scale contains a JI perfect fifth (105/70 = 3/2, scale degree #1) as well as a ›copy‹ of that fifth an octave higher (210/70 = 6/2, #3). Looking at the (or: at this) Colundi scale, a few things become apparent: While the Colundi cult followers may put their emphasis on the absolute freqs, it is the interval sizes (measured in cents or, if applicable, as ratios) that are what's useful and relevant from the perspective of serious microtonal studies. Note, in the FREQUENCY column, the absolute freqs, as published on the website, and in the CENTS column, the interval sizes in cents. This is (what you can call) the ›classic‹ freq list that they published a while ago (there's an expanded version now).
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