[1] "Effectively, for the listener, there are three main gradations of consonance/dissonance: (1) smooth untempered [ major and minor] thirds and fifths, which have the least amount of harshness caused by acoustical beats; (2) compounds of these...; and (3) chromatic or enharmonic intervals...which sound 'out of tune.
'"[1] [note the difference between 'keyboard distance' in this tuning and pitch or interval distance: for example a fifteenth, two keys with fifteen notes between them, on a normally tuned keyboard is a double octave, while in this tuning a fifteenth is slightly sharper than that[1]] "This suggested...the possibility of two opposite systems for the deployment of pitches: one that synchronized pitch choices with the layout of consonant and dissonant intervals on the keyboard [see: tonality], and a violently contrasting one in which the system for choosing pitches, a twelve-tone-row procedure derived largely from certain practices of Berg and late Schoenberg [see: twelve-tone technique], either ignores or flaunts the consonance/dissonance keyboard layout [see: atonality].
All movements, however are cast in the common ballad mold, AABA, as is each of the two entire versions, the Sonata and Grindlemusic.
"[1] In the words of the composer: "All tempos, all phrase and section lengths, and in certain parts of the 'finale' (which opens Grindlemusic, the sequence closing with the 'scherzo'), even note-to-note timings conform to a proportional scheme derived from a single pattern of changes in AABA form.
Therefore I feel that a passable sense of Grindlemusic can be experienced by simply reprogramming the tracks on your compact disc player.