In two experiments, we assessed recovery of a tonal hierarchy in tone sequences. In Experiment 1, sequence tones were five tones of a Korean pentatonic scale plus seven nonscale tones located between scale tones. Sequences included all 12 tones, randomly ordered. Duration of scale tones in each sequence corresponded to the total duration of each tone in a piece of Korean music, as quantified by U. Nam (1998). Nonscale tones were shorter than scale tones. Listeners were either familiar or unfamiliar with the style of Korean music. Sequences were played 12 times, each time followed by 1 of 12 probe tones that had occurred in the sequence. Participants rated goodness-of-fit of the probe tone to the sequence. Ratings by both groups reflected the Korean tonal hierarchy including the relative salience of scale tones. Experiment 2 followed the same method and tones, but duration was assigned to tones quasi-randomly so that duration did not emphasize intervallic relationships in the Korean scale. Ratings differentiated long and short tones, but showed no other clear organization among long tones. Differences in results between experiments suggest that duration helps listeners organize pitch structure only when duration emphasizes intervallic relationships such as the near-perfect fifth.