Tonal Consonance
Author(s): David Huron
Source: Music Perception: An Interdisciplinary Journal, Vol. 11, No. 3 (Spring, 1994), pp. 289-
305
Published by: University of California Press
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Music Perception 1994 by the regents of the
Spring 1994, Vol. 1 1, No. 3, 289-305 university of California
Interval-ClassContentin EquallyTemperedPitch-Class
Sets:CommonScalesExhibitOptimumTonalConsonance
DAVID HURON
ConradGrebelCollege, Universityof Waterloo
Introduction
289
290 David Huron
minor scales account for the vast majority of Western music. The common
pentatonic scale accounts for a significant portion of music in the Far East
(especially China).
As pointed out by the Gestalt psychologists, the specific pitches used in
a scale are less important than the intervallic relationships between the
tones. Provided the log frequency distances remain the same, a musical
work can be transposed in pitch without changing the essential perceptual
experience. This fact attests to the perceptual preeminence in music of
pitch intervals over pitches per se. A scale can thus be conveniently charac-
terized according to a recipe of successive intervals rather than as a set of
actual pitches.
Scales exhibit a bewildering variety of properties. Some scales have
variant ascending and descending forms (as in the case of the melodic
minor scale). Most scales can be characterized according to a primary or
final pitch- as in the Western tonic or Indian sa. A single set of pitches can
be claimed by more than one scale, depending on what tone is deemed to
be the final or tonic pitch- as in the case of the medieval modes.
In this paper, the focus will be on scales construed as unordered pitch-
class sets that act as pitch repertoires for music-making activities. No
account will be taken of the tonality or key-related implications of such
sets. Scales with variant ascending or descending forms will be analyzed
both as a single set and as two independent pitch-class sets. Our sole
interest will be on the interval structure of pitch-class sets and the possibili-
ties afforded by each set for the creation of consonant harmonic intervals.
Finally, for reasons that will become apparent, we must unfortunately
limit this investigation to sets drawn from the 12 pitch chromas of the
Western equally tempered system of tuning. In principle, however, the
hypothesis tested and the method of investigation could be applied to any
fixed-pitch system of tuning in any musical culture.
Hypothesis
Procedure
In order to explore the relationship between pitch-class sets and perceived consonance,
two indices are required: (1) a way of characterizingthe frequency of occurrence of various
intervals for any given pitch-class set, and (2) an index of tonal consonance for intervals of
various sizes. By relating the number of possible intervals of each size with the correspond-
ing tonal consonance for each interval, it is possible to determine the degree to which a
given pitch-class set maximizes the potential for consonant-sounding intervals.
292 David Huron
Each tone in a given pitch set can be paired with all other tones in the set. This means
that any set of fixed pitches establishes an inventory of possible pitch intervals. Consider,
by way of example, a six-note whole-tone scale in which successive pitches are two semi-
tones apart: C-D-E-Ftt -Gtt -A ft. Pitches from this set can be readily paired together to
construct various intervals: major seconds (two semitones), major thirds (four semitones),
tritones (six semitones), etc. However, other intervals (interval sizes spanning odd-
numbered semitones) are impossible to form by selecting pitches from this set.
In the case of pitch sets with octave equivalence (i.e., pitch-class or chroma sets),
interval inventories show certain regularities. For any given pair of pitch classes (such as C
and D), a large number of intervals can be formed (e.g., M2, m7, M9, ml4). All possible
intervals that can be formed by using two pitch classes are said to belong to the same
interval class (Forte, 1973). An interval class holds all intervals that are related by octave
transpositions, including complementary intervals (i.e., intervals related by inversion). Be-
cause of octave duplication, if a pitch-class set permits the creation of major thirds, it
necessarily permits the creation of an equivalent number of minor sixths as well. In princi-
ple, a given pair of pitch classes cannot provide more intervals of one size than its comple-
mentary (inverted) interval. In Western set theory, all intervals generated by a pitch-class
set can be classified as one of just six interval classes.
Interval-class content for a given pitch-class set can be expressed by using a six-element
interval vector (Forte, 1973). In the case of the whole- tone scale, for example, the associ-
ated interval vector is [0, 6, 0, 6, 0, 3]. Each value in the interval vector indicates the
relative abundance of intervals of a given interval class that can be constructed from the
given pitch-class set. All pitch sets provide unisons for every scale tone; in the case of pitch-
class (octave-equivalent) sets, each tone also produces an octave interval. Consequently, the
number of possible unisons or octaves in a scale is uninformative. The first value in the
interval vector therefore pertains to the number of 1-semitone (or 11-semitone . . .) inter-
vals that can be generated from the pitch-class set. In the case of the whole-tone scale [0, 6,
0, 6, 0, 3], no minor seconds (or major sevenths . . .) are possible. Subsequent values in the
interval vector identify the frequency of occurrence for interval classes increasing in size up
to that of a tritone (6 semitones). Because intervals wider than a tritone are inversions of
intervals smaller than a tritone, larger intervals are already accounted for in the interval
vector. The six-element interval vector thus provides a complete characterization of the
potential interval content for a pitch-class set.
A CONSONANCE INDEX
TABLE 1
Measures of Tonal Consonance and Dissonance for Various
Harmonic Intervals
Dissonance
Consonance
Hutchinson& Kameoka&
Interval Malmberg Knopoff Kuriyagawa
m2 0.00 .4886 285
M2 1.50 .2690 275
m3 4.35 .1109 255
M3 6.85 .0551 250
P4 7.00 .0451 245
TT 3.85 .0930 265
P5 9.50 .0221 215
m6 6.15 .0843 260
M6 8.00 .0477 230
m7 3.30 .0998 250
M7 1.50 .2312 255
discount spectral content, sound pressure level, and pitch register in this study, we can base
our consonance index directly on empirical records of listeners' judgments- where only
interval size has been manipulated. In this way, we avoid having to rely on an existing
theoretical model of tonal consonance. For this study, an index of tonal consonance was
constructed by amalgamating experimental data from three well-known studies: Malmberg
(1918), Kameoka and Kuriyagawa (1969a), and Hutchinson and Knopoff (1979) - as cited
in Krumhansl(1990) (see Table 1). Only the experimental data reported in these studies have
been used; calculations of theoretical or predicted consonance or dissonance have been ex-
cluded. In relying on these experimental results, we recognize that the perceptual data might
reflect cultural conditioning via exposure to music generated within commonly used scales.
In comparing the perceptual data with interval-class content, differences between com-
plementary intervals must be discarded. Recall that it is not possible for a given pitch-class
set to provide more opportunities for the creation of (say) major thirds than for minor
sixths. By definition, for any given pitch-class set, the opportunities for creating a given
interval must be identical to those for the complement of that interval. Although all three
perceptual studies show the minor sixth to be significantly more consonant than the major
third, this difference is immaterial when the data are compared with interval-class invento-
ries. We must, therefore, collapse the perceptual data for complementary intervals so that
the data are commensurate with the six-element interval-class content.
A single composite index was calculated from the three perceptualstudies as follows. First,
the consonance data for complementary intervals within each study were pooled (i.e.,
m2 + M7, M2 + m7, m3 + M6, etc.). The resulting values for each of the three empirical
sourceswere normalizedso that each had a mean of zero and a standarddeviation of one. In ad-
dition, the signs were brought into agreement (the Malmberg data pertain to consonance,
whereas the other two studies measured dissonance). The three normalized sets of data were
then averagedtogether to produce a single composite consonance index shown in Table2. This
index can be regardedas a rough approximationof the perceivedconsonance of typical equally
tempered interval classes constructed by using complex tones in the central pitch region.
Because the empirical measures of tonal consonance pertain to equally tempered pitches
only, it is possible to investigate only those sets that can be drawn from the set of 12 equally
294 David Huron
TABLE 2
Interval Class Index of Tonal
Consonance
Interval Class Consonance
m2/M7 -1.428
M2/m7 -0.582
m3/M6 +0.594
M3 / m6 +0.386
P4/P5 +1.240
A4 / d5 -0.453
tempered pitch classes. Pitch-class sets (such as scales) can be classified according to the
number of tones used- the most well-known being the class of heptatonic (i.e., seven-tone)
scales or sets. In this study, all set classes were investigated- with the exception of sets
consisting of just one or two tones. Sets consisting of a single pitch class are of little interest,
whereas sets consisting of two pitch classes would merely reproduce the rank ordering of
the interval-class consonances given in Table 2.
By using a computer program, it was possible to generate all possible sets that can be
drawn from the set of 12 pitch classes. The number of possible pitch-class sets consisting of
three or more tones is given by the following expression:
In total some 4,017 pitch-class sets were generated; however, most of these sets are simple
transpositions of each other. There are also a number of symmetries in pitch-class sets that
considerably reduces the total number of unique sets (Balzano, 1982; Forte, 1973). For
each set generated, the corresponding interval vector was determined.
RESULTS
Table 3 summarizes the analytic results for various pitch-class sets ac-
cording to both conceptions of optimum consonance described above.
Each section of the table pertains to pitch-class sets consisting of a differ-
ent number of tones. Table 3F, for example, tabulates the results for the
class of 7-tone sets. The sets are identified (column 3) by an ascending
(scalelike) recipe of semitone steps. In addition, the sets are identified
according to standard labels devised by Forte (1973). The corresponding
interval vectors are shown in column 4. The first column indicates the
aggregate dyadic consonance for the set, whereas the second column gives
the correlation between the interval vector and the index of perceived
tonal consonance. Only the "best" sets have been listed for each cardinal
class- that is, only those pitch-class sets showing the highest aggregate
dyadic consonance values, plus all sets displaying consonance correlations
greater than +0.5 are tabulated. At the top of each section of the table, the
total number of unique interval vectors is noted. Excluding transpositions,
set inversions, and modal variants, a total of 189 unique sets of three or
more pitch classes can be constructed given the 12 chromatic pitches.
As an initial observation, we might note that the sets that display the
highest aggregate dyadic consonance are found in five-, six-, and seven-
tone sets. Both smaller and larger set sizes give generally lower aggregate
dyadic consonance values. In the case of the consonance correlation val-
ues, the results are somewhat different. As the number of tones in the set is
reduced, it is generally possible to form pitch-class sets that display a
higher correlation between the interval inventory and the interval conso-
nance data. For classes that have fewer than nine tones, for example, it is
always possible to find at least one pitch-class set that exhibits a conso-
nance correlation better than +0.62. However, this is most likely an arti-
fact of the reduced degrees of freedom.
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300 David Huron
scale) ranks the highest in terms of the aggregate dyadic consonance value.
With regard to the consonance correlation measure, the common penta-
tonic scale is ranked fourth of 35 pentatonic scales with unique interval
vectors. In addition, the common pentatonic scale is the only ranking five-
note scale that is inversionally symmetric.
Having examined the preeminent scales, we can now summarize the
results. According to both interpretations of optimum consonance out-
lined here, there is indeed a notable conformity between the perceived
consonance of harmonic intervals and the availability of such intervals in
commonly used musical scales. This conformity is significantly higher than
would be expected by a chance selection of tones from the equally tem-
pered set. Indeed, the scales we have considered rank foremost of all
possible pitch-class sets.
The results of Tables 31 (four-tone) and 3J (three-tone) are suggestive in
the context of Western harmonic practice. The pitch-class sets that most
conform to the index of tonal consonance turn out to be the most common
chords in Western music: the major and minor triads, and four common
four-note chords: (in order) the minor-minor seventh, the dominant sev-
enth, the half-diminished seventh, and the major-major seventh chords.
The augmented and diminished triads rank fifth and sixth (of 12) in Table
3J, but these sets show little correlation with the tonal consonance index.
These results replicate those of Hutchinson and Knopoff (1978, 1979;
Table 1) and Danner (1985; Tables 1-3) where pitch-class consonance
was calculated for three-note chords by using a model of tonal consonance
perception.
In the case of these three- and four-note sets, it is important to recognize
that the consonance measures do not reflect the consonance of the com-
plete set of concurrently sounding tones (such as the consonance of "a
major triad"). Rather, the consonance values reflect the collective conso-
nance of all possible pairs of tones drawn from the given pitch set.
Finally, we might consider which of the two conceptions of optimum
consonance best predicts the analytic results. That is, is musical practice
most consistent with the simple pursuit of consonant harmonic intervals to
the exclusion of dissonant intervals? Or is musical practice most consistent
with a rank ordering of the availability of intervals with their respective
degrees of perceived consonance? Table 4 compares the rank ordering of
the aggregate dyadic consonance values and the consonance correlation
values for common scales and vertical pitch sets. Evidence in favor of
either conception of optimum consonance would be reflected in a signifi-
cantly higher ranking for either the aggregate dyadic consonance values or
the consonance correlation values. However, Table 4 shows no systematic
or significant differences between the results of the two different analyses.
302 David Huron
TABLE 4
Comparison of Results for Two Conceptions of Optimum Consonance
ConsonanceRanking CorrelationRanking
Ritsu mode 1 4
"Blues" scale 5 4
Major triad 1 1
Minor triad 1 1
Augmented triad 4 4
Diminished triad 5 5
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