the diatonic whole tone the "ultraseptimal" range from around 712 cents all the way to the upper bound of the regular diatonic at 720 cents or 5 tone equal temperament, and with very small diatonic semitones Diatonic scales constructed in equal temperaments can have fifths either wider or narrower than a just 3/2. Here are a few examples: 15, 17, 22, have fifths wider than a just 3/2 12 (and its multiples), 19, 31, 53, have fifths narrower than a just 3/2 Syntonic temperament and timbre The term syntonic temperament describes the combination of the continuum of tunings in which the tempered perfect fifth (P5) is the generator and the octave is the period; Comma sequences that start with the syntonic comma (i.e., in which the syntonic comma is tempered to zero, making the generated major third as wide as two generated major seconds); and the "tuning range" of P5 temperings in which the generated minor second is neither larger than the generated major second, nor smaller than the unison. This combination is necessary and sufficient to define a set of relationships among tonal intervals that is invariant across the syntonic temperament's tuning range. Hence, it also defines an invariant mapping -- all across the tuning continuum -- between (a) the notes at these (pseudo-Just) generated tonal intervals, and (b) the corresponding partials of a similarly-generated pseudo-Harmonic timbre. Hence, the relationship between the syntonic temperament and its note-aligned timbres can be seen as a generalization of the special relationship between Just Intonation and the Harmonic Series. Maintaining an invariant mapping between notes and partials, across the entire tuning range, enables Dynamic tonality, a novel expansion of the framework of tonality, which includes timbre effects such as primeness, conicality, and richness, and tonal effects such as polyphonic tuning bends and dynamic tuning progressions. If one considers the syntonic temperament's tuning continuum as a string, and individual tunings as beads on that string, then one can view much of the traditional microtonal literature as being focused on the differences among the beads, whereas the syntonic temperament can be viewed as being focused on the commonality along the string. The notes of the syntonic temperament are best played using the Wicki-Hayden note layout. Because the syntonic temperament and the Wicki-Hayden note-layout are generated using the same generator and period, they are isomorphic with each other; hence, the Wicki-Hayden note-layout is an isomorphic keyboard