In a representative historical database of musical scores, a sonority was defined at every onset in any voice. For eight trichords—major (047), minor (037), suspended (027), diminished (036), 015, 045, 025, 035—immediately preceding and following sonorities were analysed. Chroma prevalence profiles depended surprisingly little on century or temporal position—especially for major/minor trichords (cf. Krumhansl’s key profiles). Profiles for nine non-chord chromas per trichord were influenced more strongly by diatonic scales and 5th relationships than missing fundamentals (roots) or completion tones (tones that complete familiar tetrachords) according to predictions of simple models.

在具有代表性的乐谱历史数据库中，每次声音以任何声音定义了声音。对于八位和弦，分别分析了前后的son声，即大三弦（047），小三弦（037），悬挂（027），减弱（036），015、045、025、035。色度患病情况对世纪或时间位置的依赖性出乎意料地很少，尤其是对于主要/次要三和弦（参见Krumhansl的主要情况）。根据简单模型的预测，与全音阶和第5个关系相比，全音阶和第5个关系对九种非和弦色度的分布影响更大，而不是缺少基本音（根音）或完成音（完成熟悉的四和音的音调）。