I realized that this scale would work well in just intonation, since it is built from major and minor thirds without any inconvenient ambiguous notes like the D (9/8 or 10/9?) in the traditional diatonic scale. So my next experiment used a just intonation scale: 1/1 25/24 5/4 125/96 3/2 25/16 125/72. But one of the things I liked about the meantone version was the good approximation of 7/4 in the C-A# interval. So I tried detuning the thirds slightly, and found a good compromise with a major third of 388 cents (1.7 cents sharp) and a minor third of 312 cents (3.6 cents flat). With these intervals, the perfect fifth ends up being 700 cents, just like the traditional 12-tone equal tempered scale (12-TET), and the augmented sixth (C-A#) is 964 cents (4.8 cents flat of a 7/4). This is a kind of scale that I haven't used before; I don't know if it has a technical name, but for now I'm calling it the "starling scale" after the Starling Song. This scale has a number of interesting "modes" in addition to the C C# E E# G G# A# used in this example: two that I've been experimenting with are (transposed to C major) C Db D# F G Ab Bb and C D E F G G# Bb. I'm sure I'll find some good uses for scales like this in future examples.