Overtone Analysis of Chords and Inversions

Val Gutierrez
2.671 Measurement and Instrumentation

Abstract Results
When listening to music, people often associate major chords with positive moods and C Major Root Position C Minor Root Position
minor chords with negative moods [1]. In addition, music theory teaches that inverting a
chord “weakens” its function [2]. In order to quantitatively describe the difference in *The interval D to E
flat represents a minor
perception of these chords, this study analyzes C major and C minor chords in all of second. This is one of
their inversions using the Power Spectral Density of the Fast Fourier Transforms of the the most dissonant
intervals in music
sound waves. This revealed that in C major chords, the overtones are mostly composed theory [3].
of notes in the chord, making the chord pleasant to hear. In a C minor chord, however,
the overtones fall into an interval unpleasant to the listener, known as a minor second.
For both the major and minor chords, the overtones of the root note (C) grew weaker
with every inversion, causing the ambiguity and therefore “weakness” associated with
inverted chords.
Experimental Design C Major 1st Inversion C Minor 1st Inversion

C Major Root Position C Minor Root Position

Missing Root Note (C)

C Major 1st Inversion C Minor 1st Inversion

C Major 2nd Inversion

C Major 2nd Inversion C Minor 2nd Inversion Missing Root Note (C)

Grand Piano C Major Root Peaks

0.003

C3
Microphone 0.0025
Conclusions
• The overtones present in a C major chord outline the chord (CEG) & contain other
Offset Pressure Amplitude

0.002
consonant intervals, which explains why they’re perceived with a positive emotional
0.5 connotation
0.4
0.0015
• Minor chords have dissonant intervals in their overtones, explaining why they are perceived
si s with a negative emotional connotation
nal y
• Inverting a chord decreases the overtone strength of the root note, even causing it to
0.3

DA
0.001
PS
0.2
disappear, explaining the “weakness” associated with inverted chords.
Offset Pressure

C4 E4 G4
0.1 0.0005
G3 D5
0
Acknowledgements References
-0.1 0 [1] Lahdelma, I., and Eerola, T., 2016, “Single Chords Convey Distinct Emotional Qualities to
0 200 400 600 800 I’d like to thank Dr. Hughey, Prof. Leonard, Both Naïve and Expert Listeners,” Psychol. Music, 44(1), pp. 37–54.
Frequency [2] Parncutt, R., 1988, “Revision of Terhardt’s Psychoacoustical Model of the Root(s) of a
-0.2 Kate Parsons, and Caleb Hall for their support, Musical Chord,” Music Percept. Interdiscip. J., 6(1), pp. 65–93.
*Labels indicate note name and octave of each peak advice, and assistance throughout the project! [3] “5.3 Consonance and Dissonance” [Online]. Available: https://www.earmaster.com/music-
-0.3
0 1 2 3 4 theory-online/ch05/chapter-5-3.html. [Accessed: 30-Nov-2022].
Time(s)

December 6, 2022