Similarly, writing an E major chord as E,A-flat,B does not correctly the harmonic relationship between the root of the chord and the third (or the fifth if it were indicated with a C-flat). Notating this sound with an A-flat would mis-represent what is going on in the music. These different note names are used to indicate differences in terms of the melodic or harmonic content of the music.įor example, in A minor, G# is frequently encountered as the "leading tone" back to the tonic. G# and A-flat, even though it is not always the case that instruments make different sounds for these different notes. (the A# in my example of the F# major chord).Ībout the mathematical relation between tones in the harmonic scale:Įnharmonic notes are different, e.g. Notice how the third in the chord is higher or lower depending on the intonation model you are using. Wheat Williams posted this very clear table on his answer to another question. If your instrument can't play it (like a piano) you land on tempered intonation, if you can play it (or bend the tone guitar/harmonica/etc) then you can get a just/harmonic intonated chord. For example the third in F# chord (A#) should be higher than a Bb. Often the third in the chord needs adjustment. In practical terms, to be able to fine tune a chord (just/harmonic intonation in the guitar or different instruments playing/singing together) you must raise or lower some tones.
On one side you have a just or harmonic intonation which is built on harmonics scale (each tone has a a matemathical relation between the base tone), this makes each tonality have its own intonation on the other side you have temperate intonation which makes a compromise between frequencies and different keys, dividing the interval octave in equally distance semi-tones, to make possible one instrument to play in different keys, always using the same notes. Some instruments can produce different notes for A# and Bb, others can not.
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