The tonal equivalence is pretty good for the most part, especially locking in G and F as the major derivatives from the C based scale. The sacrifice of E, A and B at 1/2 a microtone are on relatively large dissonance valleys, so it should 'sound' Ok compared to losing a G.
It still amazes me that a simple rising scale of 12 equal tempers can accurately place the diatonic scale at 2 spaces apart sometimes while only one space apart on others. One thing that it does make is that each major chord has 4 semi-tones between the 1st and 2nd note, then 3 to the 3rd. (C->E=4 E->G=3, G->B=4 B->D=3, F->A=4, A->C=3)
