The Dissonance Curve and Applet

2 tones of moderate loudness, sounded simultaneously, are said to be dissonant if the result is unpleasant to listen to, and consonant if they blend well together, and are pleasing to listen to. The explanation of what causes dissonance (specifically sensory dissonance) is the beats produced by a harmonic of the first tone, when it is near, but does not coincide in frequency with a harmonic of the second. However, if the beats are very slow or extremely fast, the effect is not so unpleasant. There is an interesting discussion of this and more in [Pierce 1983 p.76], including the human ear, and the unpleasantness of dissonance resulting from 2 different sounds transmitting along the same nerve fibres. There is also the confounding effect of musically trained individuals being sensitive to what intervals they expect to be consonant or dissonant, based on past experience. This is omitted from the mathematical model below. Let us now consider tones with no harmonics higher than the first, i.e. pure sine waves. Fix tone 1 at frequency f, and denote the frequency of the other tone by g. As g varies upward from f, there is a region of roughness or critical bandwidth where there is dissonance; this dissonance dies down as g continues to increase. The length of the critical bandwidth depends on the base frequency f, and Pierce gives the rule of thumb that it extends to about the minor 3rd, that is 6/5 f. The strength of the dissonance sensation is a smooth bump function, reaching a single maximum at about 1/4 of the length of the critical bandwidth.

What we now have is a weight function for the amount of dissonance between 2 pure tones. [Sethares 1997] gives an excellent discussion dissonance curves, the experiments of Plomp in the 1960s, and

provides optimal curve fitted parameters from the data of Plomp and Levelt, which we shall use. [Benson 2002] also provides an informative discussion. We can now give a mathematical expression for the dissonance weight function as: d( f, g, Af, Ag ) = Af Ag
( g - f) where Q = -------------0.021 f + 19

[e -0.84Q - e -1.38Q ]

where Af is the amplitude of f, Ag is the amplitude of g, and g >= f. Then for standard musical tones with harmonics, we can compute the total dissonance by summing the dissonance of each pair of harmonics. We represent the significant harmonics of tone 1 by the array F = ( f1, f2, f3, f4, f5, f6 ) where fi := i * f1 and tone 2 by G = ( g1, g2, g3, g4, g5, g6 ) , with corresponding arrays for the amplitudes of each individual harmonic.

We then loop over each element of array F, and for each element of F we loop over array G, summing up the result of plugging fi and gj into d( f, g, Af, Ag), with the warning that f is always the minimum term of {fi, gj}, and g is always the maximum. The following applet draws the curve as g1 varies over the octave of f1.

Dissonance Curve Applet The relative intensity of the first 6 harmonics of a piano wire, struck at 1/7 its length, are taken from [Helmholtz 1877 p.79], and they have the approximate ratios:
Plucked: Soft hammer: (1.0 (1.0 0.8 1.9 2.9 3.2 0.6 1.1 3.6 5.0 0.3 0.2 2.6 5.0 0.1 0.0 1.1 3.2 0.03) 0.05) 0.2 ) 1.0 )

Medium hammer: (1.0 Hard hammer: (1.0

view the source code If you save it to disk, change the .txt to .java before you try to javac it.

Discussion of Results for scales

The above applet's diagram tells us how well the frequencies blend with the base frequency, which we always call C. The reader should systematically experiment with increasing base frequencies and harder hammers ( the harder the hammer, the more prominence of the upper harmonics). A number of interesting phenomena emerge, and we shall discuss some of them, while wondering which are artifacts of Plomp's model, or Sethares' parameters, or the author's own implementation. Some general observations (by no means all): 1. The greatest consonances occur at both ends of the scale, and at G = 3/2 f in the middle. On either side of these are maxima of dissonance. 2. At low frequencies, dissonance reigns with only a few shallow peaks. At high frequencies ( say 2112 Hz ) the curve is in general much lower. Going too high is probably physically unrealistic. 3. Soft hammers damp harmonics and bring out few minima; harder hammers bring out many more, especially at higher frequencies. 4. Minima at F, G, and A persist across the various frequencies and hammers, and they are the deepest. Others come and go. 5. It is probably not meaningful to be concerned about what is the exact lowest point in a wide valley, or to claim a minima location to match a fraction if the distance is too great (say 5 cents?). This may explain away some theoretically unattractive minima

like 9/7 and 12/7 for 264Hz, soft hammer, but experimentation reveals many other anomalies! 6. E = 5/4 and E-flat = 6/5 appear sometimes, but are fairly high in dissonance. D = 9/8 rarely appears, except at high frequencies, and B = 15/8 never does.

Implications for scales

Let us take as our baseline middle C = 264Hz and the Medium hammer. Any scale we derive in the primary octave would just be transposed to upper and lower octaves. Recall that the Just Intonation C scale has frequency ratios C major: (C-D-E-F-G-A-B) = [ 1 9/8 5/4 4/3 3/2 5/3 15/8 ] C minor: (C-D-Eb-F-G-Ab-Bb) = [ 1 9/8 6/5 4/3 3/2 8/5 9/5 ] We would like to show that these choices are optimal in some fundamental sense. This will lead us into functional harmony, which is not well understood by the author, but we'll go as far as we can. We defined the C major scale from the notes of the triad chords C, F, G based on harmonics. Here we ask what that means in terms of the amount of dissonance. The C major triad is certainly very consonant with C, therefore it is in the scale. The F chord is then a great choice because its gets both the other consonance heavyweights F and A. Why not use A major if A is so good? The problem is the almost maximum dissonance around C# ( and noleading tone property to C). How do we justify the G chord being part of the scale? G is excellent with C alone, but B and D are terrible, they do not even appear as local minima; 3 octaves up at 2112Hz, we get a deep but wide minima near D and a bit higher than B-flat ( but never B!). Perhaps this very weakness can be construed as a strength, though. The notes of the G chord serve two functions:

G, B and D fill in large interval gaps in (C-E-F-A-C) B has the leading tone property to C ( cf. [Helmholtz 1877 p.285 ])

Therefore, we have found that the C major scale to contain the notes with the following properties: 1. All the tones with maximal consonance against C are included.

2. The notes form 3 distinct major triads. 3. Intervals between notes, while different sizes, do not contain any gap larger than 204 cents. 4. The notes can form at least one dissonant chord G7C = (G-B-DF) which "resolves" to C major (or minor). What we have not established is any reason why the interval size should matter, except for the common sense reasons that they shouldn't be extrememly small, so as to be readily distinguished. We have also not precisely defined the leading tone property, or explained the mechanics of how one chord resolves into another. Therefore we can't say why there shouldn't be other notes also included in the scale. We may vaguely conjecture that the leading tone property is somehow the "frustrated expectation" of the listener to hear the tonic, and instead hearing something close. Idea: It would be interesting to see if one could construct a mathematical function to indicate what chord ( if any) a given chord should resolve to, perhaps a "dissonance metric" to give the shortest path to a satisfactorily consonant chord. Also, by plotting the dissonance value of chords, could one study classical music in a dynamical systems approach as trajectories winding around on dissonance surfaces, and interacting with minima, like a particle in a potential energy well? We may reasonably postulate the following as another musical axiom, and justify it by the lack of general acceptance of 20th century atonal music: Resolution Axiom: A critically important function of harmony in music is the "tension" of dissonant harmony resolving into the "relaxation" of consonance, usually the tonic chord. For the minor scales, we again have the dissonance minima at C, F, G and A; we form the minor triads for C,F and G ( Am is already in C major ). With the Fm we lose the strong consonance of A with C and instead have Ab. Historically, people had trouble accepting a minor chord ending a composition, but it sounds perfectly acceptable today. This fact could play havoc with creating the above mentioned chord resolution function. Developing a Theory of Chords from Harmonic Principles...

[There is a summary of the results I found at the end of this page. If too many things discussed here are unfamiliar, you might want to read this introduction first]. Suggestions for improvement are most welcome! Let us say a consonant chord is a set of notes characterized by 1. some notes share one or more low order harmonics 2. there are no strongly dissonant clashes between the other pairs of low order harmonics. We say low order because high harmonics can be very dissonant against the fundamental frequency, but ordinarily those harmonics are so weak as to not be noticed. We can form 4 types of consonant chords: 1. A root tone and other tones matching harmonics of the root by octave equivalence ( Like C major, shown below). 2. All tones sharing a common harmonic (Like C minor). 3. Notes matching harmonics not by octave equivalence (like F = cf-a). 4. Matching some harmonics by octave equivalence and some not. (This also characterizes a minor triad!) There seem to be two types of chords in practice: those which are based on harmonic principles (e.g. C major and C minor) and those which are based on chosing a pattern of notes on the keyboard (e.g. C-Augmented or C-Diminished-6). Here is a list of C chords, drawn in circle of 5ths diagrams and a catalog of some of their properties. In the present discussion, a companion to the one just linked to, the goal is to study what chords are possible from simple acoustical principles with harmonics. The figure that I conceived of below is useful for graphically showing the relationships between the harmonics; I have fancifully called it theHarmonic Tower: The vertical axis is marked by the harmonics of a note of a fixed frequency, call it c. The horizontal axis is marked by a listing of all fractions between 1 and 2 in terms of increasing denominator (luckily they can quickly stop being listed because they become irrelevant, either by only matching too high a harmonic of c, or by being too dissonant against the 1st harmonic of c, the fundamental). It makes sense to list the fractions along the horizontal axis like this because they correspond to a string vibrating as a whole (1), as halves (3/2), as

a segment of one third its length (4/3),and a two thirds segment (5/3), and so forth. This is the way that harmonic bodies vibrate!

The green strip, of width about a minor 3rd, roughly marks the socalled critical bandwidth . (If you follow the link, you will see the graph of a bump function representing dissonance). Imagine sliding the strip up and down to compare the harmonics of 2 notes, lining its bottom edge up with one of the harmonic horizontal tic marks in the column of the note that you are interested in. If the harmonic marking in another column lies inside the strip (as opposed to on the edge), then the two notes will produce unpleasant beats when sounded together and thus be dissonant. Remember that consonant chords are characterized by matching some harmonics. As we shall see, some chords match on some harmonics very nicely, but almost match on others, which means these near misses lie in the critial bandwidth and the pleasing quality of the matches is nullified by the unpleasantness of the clashes; thus the chord cannot be called consonant.

Look at the notes of C major (c-g-e) and notice how they match the 3rd and 5th harmonics of c by octave equivalence (Yellow boxes on diagram). Look at the notes of C minor (c-g-eb) all having a match on the same line as the 6th harmonic of c. Observe the triad C-sus (c-g-f), and how it is poised to be a wonderfully strong consonant chord (the harmonic matching is so low) but this is offset by its higher dissonance (due to the clash of the 1st harmonics of g and f).

Let us try to identify all the combinations and see what chords we get: We require that the note c always be present, thus we always have the harmonic 1. We extended the list of harmonics all the way up to the 9th, so that we could get bb = 9/5 and d = 9/8. Note that we are missing b = 15/8 , because it is just too implausible to go that high and match the 15th harmonic of c with the 8th harmonic of b (high harmonics are typically inaudible).
Indexes Matching Harmonics Note Names Chord Name Fractions Dissonance (0,1) (0,2) (0,3) (0,4) (0,5) (0,6) (0,7) (0,8) (0,9) (0,10) (0,11) (0,12) (0,13) (1, 3* ) (1, 4 ) (1, 5 ) (1, 5* ) (1, 7* ) (1, 6 ) (1, 7 ) (1, 8 ) (1, 9 ) (1, 7 ) (1, 8 ) (1, 9 ) (1, 9* ) c-g c-f c-a c-e c - 7/4 c-e c-a
b

5th 4th 6th major 3rd minor 3rd minor 6th

1 3/2 1 4/3 1 5/3 1 5/4 1 7/4 1 6/5 1 7/5 1 8/5 1 9/5 1 7/6 1 8/7 1 9/7 1 9/8

0.1595 0.3669 0.2348 0.4796 0.3956 0.4798 0.5524 0.5212 0.4037 0.6648 0.6813 0.6249 0.7065

c - 7/5
b b

c-b

c - 7/6 c - 8/7 c - 9/7 c-d

Duplicates are omitted (for example (1,3) and (1,6) are both c-g). Asterisks symbolize harmonics that are matched by an octave equivalent note and are thus more strongly matched. In the theory espoused by Terhardt (see References ) when 2 or more notes are sounded together there are two (sometimes competing) components of harmony:

The amount of sensory dissonance from beating harmonics

The amount of identification of a root tone, via the auditory phenomena of virtual pitch

If the harmonics match by octave equivalence, then root identification is enhanced. To calculate dissonance in the last column of each table, we used the Helmholtz-Plomp model with parameters from Sethares' book (see References ). Getting dissonance values of chords to come out so that they agree with the experience of musicians is a tricky business, so what we have here is just one possibility. The calculated dissonance value is very sensitive to how you weight the harmonics. We only summed the dissonance of only the first 6 harmonics (with equal weights), even though we matched harmonics in chords up to the 9th. Otherwise nice chords like C major came out way too dissonant! Also we measured the dissonance of a chord as the dissonance of the 2 worst notes, not summing all possible dissonance combinations. The source code to calculate these tables is available after the last table.
Indexes (0,1,2) (0,1,3) (0,1,4) (0,1,5) (0,1,6) (0,1,7) (0,1,8) (0,1,9) Matching Harmonics (1, 3*, 4) (1, 3*, 5) (1, 3*, 5*) (1, 3*, 7*) (1, 3*, 6) (1, 3*, 7) (1, 3*, 8) (1, 3*, 9) Note Names c-f-g c-g-a c-e-g c - g - 7/4 c - eb - g c - 7/5 - g c-g-a c-g-b
b b

Chord Name C sus C major C minor

Fractions Dissonance 1 4/3 3/2 0.5637 1 3/2 5/3 0.5535 1 5/4 3/2 0.4796 1 3/2 7/4 0.5020 1 6/5 3/2 0.4798 1 7/5 3/2 0.8344 1 3/2 8/5 0.8535 1 3/2 9/5 0.4037 1 7/6 3/2 0.6648 1 8/7 3/2 0.6813 1 9/7 3/2 0.6249 1 9/8 3/2 0.7065

(0,1,10) (1, 3*, 7) (0,1,11) (1, 3*, 8) (0,1,12) (1, 3*, 9) (0,1,13) (1, 3*, 9*) (0,2,3) (0,2,4) (0,2,5) (0,2,6) (0,2,7) (0,2,8) (0,2,9) (1, 4, 5) (1, 4, 5*) (1, 4, 7*) (1, 4, 6) (1, 4, 7) (1, 4, 8) (1, 4, 9)

c - 7/6 - g c - 8/7 - g c - 9/7 - g c-d-g c-f-a c-e-f c - f - 7/4 c-e -f c - f - 7/5 c-f-a c-f-b
b b b

F major

1 4/3 5/3 0.3904 1 5/4 4/3 0.9091 1 4/3 7/4 0.4629 1 6/5 4/3 0.6535 1 4/3 7/5 1.0148

F minor

1 4/3 8/5 0.5212 1 4/3 9/5 0.4037 1 7/6 4/3 0.6648 1 8/7 4/3 0.6813

(0,2,10) (1, 4, 7) (0,2,11) (1, 4, 8)

c - 7/6 - f c - 8/7 - f

(0,2,12) (1, 4, 9) (0,2,13) (1, 4, 9*) (0,3,4) (0,3,5) (0,3,6) (0,3,7) (0,3,8) (0,3,9) (1, 5, 5*) (1, 5, 7*) (1, 5, 6) (1, 5, 7) (1, 5, 8) (1, 5, 9)

c - 9/7 - f c-d-f c-e-a c - a - 7/4 c-e -a c - 7/5 - a c-a -a c - a - bb c - 7/6 - a c - 8/7 - a c - 9/7 - a c-d-a c - e - 7/4 c-e -e c - e - 7/5 c-e-a c-e-b
b b b b b

1 9/7 4/3 1.0657 1 9/8 4/3 0.7065 A minor A dim 1 5/4 5/3 0.4796 1 5/3 7/4 0.9767 1 6/5 5/3 0.4898 1 7/5 5/3 0.5524 1 8/5 5/3 1.0406 1 5/3 9/5 0.7025 1 7/6 5/3 0.6648 1 8/7 5/3 0.6813 1 9/7 5/3 0.6249 1 9/8 5/3 0.7065 1 5/4 7/4 0.4855 1 6/5 5/4 1.0635 1 5/4 7/5 0.6054 1 5/4 8/5 0.5643 1 5/4 9/5 0.5082 1 7/6 5/4 0.8964 1 8/7 5/4 0.7583 1 5/4 9/7 1.0359 1 9/8 5/4 0.7065 1 6/5 7/4 0.4997 1 7/5 7/4 0.5524 1 8/5 7/4 0.6163 1 7/4 9/5 1.0571 1 7/6 7/4 0.6648 1 8/7 7/4 0.6813 1 9/7 7/4 0.6249 1 9/8 7/4 0.7065 1 6/5 7/5 0.5845 A major
b b

(0,3,10) (1, 5, 7) (0,3,11) (1, 5, 8) (0,3,12) (1, 5, 9) (0,3,13) (1, 5, 9*) (0,4,5) (0,4,6) (0,4,7) (0,4,8) (0,4,9) (1, 5*, 7*) (1, 5*, 6) (1, 5*, 7) (1, 5*, 8) (1, 5*, 9)

(0,4,10) (1, 5*, 7) (0,4,11) (1, 5*, 8) (0,4,12) (1, 5*, 9) (0,4,13) (1, 5*, 9*) (0,5,6) (0,5,7) (0,5,8) (0,5,9) (1, 7*, 6) (1, 7*, 7) (1, 7*, 8) (1, 7*, 9)

c - 7/6 - e c - 8/7 - e c - e - 9/7 c-d-e c - eb - 7/4 c - 7/5 - 7/4 c - a - 7/4 c - 7/4 - b

b b

(0,5,10) (1, 7*, 7) (0,5,11) (1, 7*, 8) (0,5,12) (1, 7*, 9) (0,5,13) (1, 7*, 9*) (0,6,7) (0,6,8) (0,6,9) (1, 6, 7) (1, 6, 8) (1, 6, 9)

c - 7/6 - 7/4 c - 8/7 - 7/4 c - 9/7 - 7/4 c - d - 7/4 c - e - 7/5 c-e -a c-e -b
b b b b b

1 6/5 8/5 0.5212 1 6/5 9/5 0.4798 1 7/6 6/5 1.0305 1 8/7 6/5 1.0401 1 6/5 9/7 0.8866 1 9/8 6/5 0.9421 1 7/5 8/5 0.5524 1 7/5 9/5 0.5524

(0,6,10) (1, 6, 7) (0,6,11) (1, 6, 8) (0,6,12) (1, 6, 9) (0,6,13) (1, 6, 9*) (0,7,8) (0,7,9) (1, 7, 8) (1, 7, 9)

c - 7/6 - e
b

c - 8/7 - eb c - e - 9/7 c - d - eb c - 7/5 - a c - 7/5 - b

b b

(0,7,10) (1, 7, 7) (0,7,11) (1, 7, 8) (0,7,12) (1, 7, 9) (0,7,13) (1, 7, 9*) (0,8,9) (1, 8, 9) (0,8,10) (1, 8, 7) (0,8,11) (1, 8, 8) (0,8,12) (1, 8, 9) (0,8,13) (1, 8, 9*) (0,9,10) (1, 9, 7) (0,9,11) (1, 9, 8) (0,9,12) (1, 9, 9) (0,9,13) (1, 9, 9*) (0,10,11) (1, 7, 8) (0,10,12) (1, 7, 9) (0,10,13) (1, 7, 9*) (0,11,12) (1, 8, 9) (0,11,13) (1, 8, 9*) (0,12,13) (1, 9, 9*)

c - 7/6 - 7/5 c - 8/7 - 7/5 c - 9/7 - 7/5 c - d - 7/5 c-a -b

b b b b

1 7/6 7/5 0.6648 1 8/7 7/5 0.6813 1 9/7 7/5 0.7362 1 9/8 7/5 0.7065 1 8/5 9/5 0.5212 1 7/6 8/5 0.6648 1 8/7 8/5 0.6813 1 9/7 8/5 0.6249 1 9/8 8/5 0.7065 1 7/6 9/5 0.6648 1 8/7 9/5 0.6813 1 9/7 9/5 0.6249 1 9/8 9/5 0.7065 1 8/7 7/6 0.9257 1 7/6 9/7 0.7055 1 9/8 7/6 1.0679 1 8/7 9/7 0.6813 1 9/8 8/7 0.8079 1 9/8 9/7 0.7065

c - 7/6 - a c - 8/7 - a c-d-a

b

c - 9/7 - ab c - 7/6 - b c - 8/7 - b c - 9/7 - b c-d-b

b b b b

c - 8/7 - 7/6 c - 7/6 - 9/7 c - d - 7/6 c - 8/7 - 9/7 c - d - 8/7 c - d - 9/7

n = 78 Some observations and summary of results and open questions: 1. We certainly get some expected chords C and Cm, F and Fm, and Am. 2. We notably don't get G, because we don't get the note b (its harmonic relationship to c is just too distant). 3. Curiously, A-dim = c-eb-a shows up and with quite a low dissonance value. 4. Is C-aug = c-e-ab? If so, it is in the list, and we have constructed the augmented and diminished chords from harmonic principles! But is C-aug = c-e-g# really? 5. We also get Ab major, which is a little suprising. 6. Evidently, good consonant chords can be made using 7/4 such as c-f-7/4 and c-eb-7/4. This may have implications for what I call thepropagation problem below. 7. The chord F major = c-f-a is made with no octave equivalence matching...to c. It certainly does match f's harmonics by octave equivalence. Is that always the case for triads made by all nonO.E. matching? In other words, is what I called "case 3" at the beginning of this page actually not a case at all?

8. I am probabaly not worrying enough about inversions like c-e-g, e-g-c, g-c-e not having the same dissonance 9. The dissonance values are still not "right", since for example F minor = c-f-ab has a higher dissonance than c-f-bb on the line below it. 10. The "Propagation Problem": Western music is based on the major chord. What other chords could form scales in a similar manner and possibly allow similiar harmonic functions, like cadences? This would first mean solving what I call the propagation problem: How to start from the C major triad and generate the C major scale and the other 11 standard keys in some kind of a way that is mathematical and optimal. I attempt to do this here, but it is not complete. Theorem If you create a scale, say the C major scale, by major chords linked at the 3rd harmonic, like F - C - G, then you automatically have created minor chords as well. Likewise, 3 linked minor chords create major chords. 4-Chords Here is a listing of the lowest dissonance 4 note chords:
Indexes Matching Harmonics Note Names c-f-g-a c - f - g - 7/4 c - f - g - bb c-e-g-a c - eb - g - a C7 sus C6 Cm6 F6 Chord Name Fractions 1 - 4/3 - 3/2 5/3 1 - 4/3 - 3/2 7/4 1 - 4/3 - 3/2 9/5 1 - 5/4 - 3/2 5/3 1 - 6/5 - 3/2 5/3 1 - 5/4 - 3/2 7/4 1 - 5/4 - 3/2 9/5 1 - 6/5 - 3/2 7/4 Cm7 1 - 6/5 - 3/2 9/5 1 - 4/3 - 8/5 9/5 Dissonance 0.5637 0.5637 0.5637 0.5535 0.5535 0.5020 0.5082 0.5020 0.4798 0.5212

(0,1,2,3) (1, 3*, 4, 5) (0,1,2,5) (1, 3*, 4, 7*) (0,1,2,9) (1, 3*, 4, 9) (0,1,3,4) (1, 3*, 5, 5*) (0,1,3,6) (1, 3*, 5, 6) (0,1,4,5) (1, 3*, 5*, 7*) (0,1,4,9) (1, 3*, 5*, 9) (0,1,5,6) (1, 3*, 7*, 6) (0,1,6,9) (1, 3*, 6, 9) (0,2,8,9) (1, 4, 8, 9)

c - e - g - 7/4 Tetrad c - e - g - bb c - eb - g - 7/4 c - eb - g - bb c - f - ab - bb C7F

(0,3,6,7) (1, 5, 6, 7) (0,4,8,9) (1, 5*, 8, 9) (0,5,6,7) (1, 7*, 6, 7) (0,6,7,8) (1, 6, 7, 8) (0,6,7,9) (1, 6, 7, 9) (0,6,8,9) (1, 6, 8, 9) (0,7,8,9) (1, 7, 8, 9)

c - eb - 7/5 - a c - e - ab - bb c - eb - 7/5 7/4 c - eb - 7/5 ab c - eb - 7/5 bb c - eb - ab - bb c - 7/5 - ab bb

1 - 6/5 - 7/5 5/3 1 - 5/4 - 8/5 9/5 1 - 6/5 - 7/5 7/4 1 - 6/5 - 7/5 8/5 1 - 6/5 - 7/5 9/5 1 - 6/5 - 8/5 9/5 1 - 7/5 - 8/5 9/5

0.5845 0.5643 0.5845 0.5845 0.5845 0.5212 0.5524

1. The table for the 4 note combinations is so big (286 rows) that it is on its own page: 4 note chords table. 2. One chord which is notably missing is C-maj-7 = c-e-g-b and this is again because we don't generate the note b with our scheme of low order harmonics.