Experiment with tritone

The tritone's nickname as "the devil in music" awakes curiosity but I
am not able to find satisfactory explanation of such bad reputation in
literature or internet. However it is reasonable to think that some
causes exist. Here I want to  try to explore this question.
 At first is remarkable that tritone interval with its 6 semitones is
between "great" 5 and 7 intervals . How can dissonances arise?  Let
the tritone consists from the note C4 which has essential 2 overtone
and the note #F3 with essential 3 overtone. Then sound signal would
have essential components with pitches C5 and #C5 and dissonance would
be heard.  In order to check this I used my program for music research
on the site http//:home.tiscali.de/ivilen/mus_rsrchr.htm . This site
includes the download of directory with program exe -file and text
file, which permits to repeat a.m. experiment without study of the
whole program instruction.
I made the score with 4 bars in which
tritones include accordingly:
1.	The note C4 with 2 overtone and the note  #F3 with 3 overtone.
2.	The note C4 with 3 overtone and the note  #F3 with 2 overtone.
3.	The note #F3 with 2 overtone and the note C4 with 3 overtone.
4.	The notes C4 and  #F3 have each one both 2 and 3 overtones.
In first and fourth bars the dissonance is heard. It proves that
dissonances arise by using of tritone intervals because of interaction
of 2 and 3 overtones, moreover they may be avoided means expedient
choose of overtones.
It seems to me that possibility to choose notes' overtones is very
im****tant for development of music practice and theory, which have the
fault of little attention to the note's overtone structure. In
acoustic only pure sinusoid is considered as tone and sinusoid with
overtones as sound, but the music theory makes no difference.

Yuri Vilenkin