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Each square in the figure indicates a tone, with any set of squares in vertical alignment together making one Shepard tone. The color of each square indicates the loudness of the note, with purple being the quietest and green the loudest. Overlapping notes that play at the same time are exactly one octave apart, and each scale fades in and fades out so that hearing the beginning or end of any given scale is impossible. As a conceptual example of an ascending Shepard scale, the first tone could be an almost inaudible C4 (middle C) and a loud C5 (an octave higher). The next would be a slightly louder C♯4 and a slightly quieter C♯5; the next would be a still louder D4 and a still quieter D5. The two frequencies would be equally loud at the middle of the octave (F♯4 and F♯5), and the twelfth tone would be a loud B4 and an almost inaudible B5 with the addition of an almost inaudible B3. The thirteenth tone would then be the same as the first, and the cycle could continue indefinitely. (In other words, each tone consists of two sine waves with frequencies separated by octaves; the intensity of each is e. g. a raised cosine function of its separation in semitones from a peak frequency, which in the above example would be B4. According to Shepard, "(. . . ) almost any smooth distribution that tapers off to subthreshold levels at low and high frequencies would have done as well as the cosine curve actually employed. " )