The harmonic series (also overtone series) is the sequence of harmonics, musical tones, or pure tones whose frequency is an integer multiple of a fundamental frequency.

Pitched musical instruments are often based on an acoustic resonator such as a string or a column of air, which oscillates at numerous modes simultaneously. As waves travel in both directions along the string or air column, they reinforce and cancel one another to form standing waves. Interaction with the surrounding air produces audible sound waves, which travel away from the instrument. These frequencies are generally integer multiples, or harmonics, of the fundamental and such multiples form the harmonic series.

The fundamental, which is usually perceived as the lowest partial present, is generally perceived as the pitch of a musical tone. The musical timbre of a steady tone from such an instrument is strongly affected by the relative strength of each harmonic.

A "complex tone" (the sound of a note with a timbre particular to the instrument playing the note) "can be described as a combination of many simple periodic waves (i.e., sine waves) or partials, each with its own frequency of vibration, amplitude, and phase". (See also, Fourier analysis.)

A partial is any of the sine waves (or "simple tones", as Ellis calls them when translating Helmholtz) of which a complex tone is composed, not necessarily with an integer multiple of the lowest harmonic.

A harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. The fundamental is a harmonic because it is one times itself. A harmonic partial is any real partial component of a complex tone that matches (or nearly matches) an ideal harmonic.

An inharmonic partial is any partial that does not match an ideal harmonic. Inharmonicity is a measure of the deviation of a partial from the closest ideal harmonic, typically measured in cents for each partial.

Many pitched acoustic instruments are designed to have partials that are close to being whole-number ratios with very low inharmonicity; therefore, in music theory, and in instrument design, it is convenient, although not strictly accurate, to speak of the partials in those instruments' sounds as "harmonics", even though they may have some degree of inharmonicity. The piano, one of the most important instruments of western tradition, contains a certain degree of inharmonicity among the frequencies generated by each string. Other pitched instruments, especially certain percussion instruments, such as marimba, vibraphone, tubular bells, timpani, and singing bowls contain mostly inharmonic partials, yet may give the ear a good sense of pitch because of a few strong partials that resemble harmonics. Unpitched, or indefinite-pitched instruments, such as cymbals and tam-tams make sounds (produce spectra) that are rich in inharmonic partials and may give no impression of implying any particular pitch.