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Table 2 The fourteen sequences of seven tones used in each one of the trials, with the type of test-sequence (the same or different as the memorized sequence) and the discrepant tone (above [↑] or below [↓] the respective original tone) in the “different” trials

From: Irrelevant sound interference on phonological and tonal working memory in musicians and nonmusicians

Trial Stimuli serial presentation Test stimuli
1 2 3 4 5 6 7 Type Change
1/15 F#2 A2 F3 C#3 B2 G#2 E2 Different A2 → C3 ↑
2/16 C3 G#3 B3 A3 F3 D#3 G2 Same
3/17 B2 F3 A#3 C4 G#3 D3 G#2 Different C4 → D#4 ↑
4/18 D3 A3 B3 F3 D#3 A2 G2 Same
5/19 A#2 D3 F3 C#4 B3 F3 E2 Different A#2 → G2 ↓
6/20 E3 F3 A#3 G3 D#3 B2 D2 Same
7/21 D#2 A2 E3 C3 A#2 F#2 C2 Different A#2 → G2 ↓
8/22 E2 A#2 F3 A#3 G3 C#3 F2 Different F3 → G#3 ↑
9/23 A2 D#3 F3 B3 C3 A#2 G#2 Same
10/24 D#3 F3 B3 C4 F#3 A2 G2 Same
11/25 F2 B2 D3 C3 G#2 F#2 E2 Different E2 → G2 ↑
12/26 G2 C#3 D3 C3 G#2 F2 D#2 Same
13/27 G#2 D3 A#3 E3 C3 A#2 F#2 Same
14/28 C#3 D3 G#3 B2 A#3 E3 A2 Different E3 → G3 ↑
  1. Note: Tones that were changed from the original sequence are marked in bold