A cyclical temperament is a tuning system which may be expressed as a closed circle of Fifths. Such tunings have the advantage of unlimited modulation of harmonic pattern, that is, price for this mobility. The drawback lies in the mandatory use of irrational ratios instead of small-integer “Just” ratios. Such tuning systems use controlled “mis-tunings” of the normative simple ratios. Hence they are called Temperaments.
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http://siementerpstra.com/writings/Terpstra-MeantoneSeries.pdf
http://siementerpstra.com/writings/Terpstra-MeantoneSeriesDiagrams.pdf
The author re-examines the syntax of Gesualdo’s musical style in the light of the intonational practices of his time. A theoretical structure with which to describe his harmonic practices, and those of other 16th Century composers, is developed. The historical context is presented as well as a series of analyses of Gesualdo’s music.
The author develops a syntax for meantone harmony based on the structural characteristics of the temperament. These features include a description of the Regions with their boundary functions, and also the three genera. An abstract topology of triad progression is introduced, as well as an introduction to the organization of functional tables for 31-ET.
The purpose of this article is to examine certain aspects of theory which concert practical musical composition in 31-E.T. (or extended meantone). The principles which are put forth may also be used to advantage with other equal divisions, including 12-E.T., 19-E.T., and so on. This article was meant to compliment the other articles which I have written on meantone theory. Those articles are: 
This collection of harmonies is an expansion of the set presented in my paper 
The author explains how tendencies within the structure of the Pythagorean chromatic scale supported the transfer to Just Intonation; however, certain features of Just Intonation necessitated the application of some form of temperament. The meantone temperament formed the best compromise for the musical styles that were being explored. The author aims at a co-relation between tuning paradigm and associated musical style.
The author looks at a variety of substitutions for V7 and IVm6 within tonal harmony and why such procedures work. Meanwhile he explores some fundamental issues of music theory.
The author examines a variety of chord progressions within tonal harmony. In order to better understand the syntax or ‘flow’ he defends a morphological toll called the Reciprocity Model of chord progression. With this aid he looks at some interesting features mainly oriented around the extended meantone fabric of harmony.
Starting in the middle 1980’s, around the time that I wrote up A Short List of Musical-Cosmological Monochords, I began a patient compilation of diagrams. Most of them consisted of elaborate tables showing numerous just ratios calculated in cents, as well as some speculative monochords and representations of the Harmonic Series. I meant this work to accompany a text that sums up my investigations into Harmonics. Inevitably, it reflected my interests during the seventies and early eighties – just intonation, drone-based music, and monochords. I never got around to writing the text, though I left a couple of pages of notes. After a few years I scrapped the whole project and archived it under the rather imposing heading: The Laws of Harmonics. Recently I dragged it out of its storage to reconsider the project.