The frequencies of the harmonic series, being integer multiples of the fundamental frequency, are naturally related to each other by whole-numbered ratios and small whole-numbered ratios are likely the basis of the consonance of musical intervals (see just intonation). This objective structure is augmented by psychoacoustic phenomena. For example, a perfect fifth, say 200 and 300 Hz (cycles per second), causes a listener to perceive a combination tone of 100 Hz (the difference between 300 Hz and 200 Hz); that is, an octave below the lower (actual sounding) note. This 100 Hz first-order combination tone then interacts with both notes of the interval to produce second-order combination tones of 200 (300 − 100) and 100 (200 − 100) Hz and all further nth-order combination tones are all the same, being formed from various subtraction of 100, 200, and 300. When one contrasts this with a dissonant interval such as a tritone (not tempered) with a frequency ratio of 7:5 one gets, for example, 700 − 500 = 200 (1st order combination tone) and 500 − 200 = 300 (2nd order). The rest of the combination tones are octaves of 100 Hz so the 7:5 interval actually contains four notes: 100 Hz (and its octaves), 300 Hz, 500 Hz and 700 Hz. The lowest combination tone (100 Hz) is a seventeenth (two octaves and a major third) below the lower (actual sounding) note of the tritone. All the intervals succumb to similar analysis as has been demonstrated by Paul Hindemith in his book The Craft of Musical Composition, although he rejected the use of harmonics from the seventh and beyond.