Whether combination tones are musical depends on the tuning system

Evidence

The musical relationship of com­ bination tones to notes played therefore depends on the tuning system in use. Two notes played using a tuning system which results in the interval — David Howard, Jamie Angus, coustics and Psychoacoustics, 1622

Categorization

Category: Factual Claims

Related

• Tuning systems determine whether auditory combination tones align with harmonic series (similarity 0.91)
• A 34-cent tuning difference changes a chord’s identity and residue pitch (similarity 0.83)
• Pure-tone instruments readily produce audible combination tones (similarity 0.83)
• Combination tones fill in missing harmonics of a perceived fundamental (similarity 0.83)
• Combination tones fill in missing harmonics of an implied fundamental. (similarity 0.82)
• Equal temperament makes combination tones slightly out of tune (similarity 0.81)
• Combination tones exist below both source tones and vary in audibility (similarity 0.81)
• Only some combination tones are readily perceived, and none by all listeners. (similarity 0.81)
• Combination tones beat against other near-pitched instruments unless masked (similarity 0.80)
• No musical tuning system can be proven superior to another (similarity 0.80)
• No tuning system can make all diatonic intervals have simple ratios (similarity 0.79)
• Almost every musical sound contains at least two frequency components (similarity 0.79)
• Pitch perception depends on harmonics being integer multiples of the fundamental (similarity 0.78)
• Musical intervals trace directly to harmonic-series frequency ratios (similarity 0.78)

Broader Connections

• Combination tones fill in missing harmonics of a perceived fundamental #expands (0.80) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1620