This, admittedly, was a lot of notes. However, basic set theory says that when you have a closed data set, the patterns will cycle around. Therefore, the 600-note system was fully circular in all directions.
It also contained all of the equal tempered notes. However, the equal tempered notes were not yet arranged usefully. In other words, it had not gotten as far as Supplemented Equal Tempered intonation yet.
Also, issues remained: What instruments could play it, how to notate it, and how to deal with enharmonics for 600 notes? Above is a partial table of the 600-note just intonation tonality/modality chart.
The numbers are the cent values of the notes, which sit to the right of their own specific note letters. The blue cell is the note C . On the bottom row, I broke the pattern of the higher cells to show the minor thirds from the parallel minor scale.
A note, such a G, has more than one cent value on the full chart. With flexible pitch instruments, a note contains more than one pitch. Just intonation (and also SET) has this feature built into it. We will discuss this more when we talk about pitch clusters in flexible-pitch-instrument performance.