La enarmonía en música es el nombre que se aplica a la relación entre dos o más sonidos que, a pesar de poseer distintos nombres, se aproximan en su entonación, resultando casi idéntica en la afinación temperada, como la de los instrumentos de teclado modernos. Por ejemplo, dos notas que se llamen de distinta manera pueden, a veces, coincidir en la misma tecla de un piano, en el mismo traste de una guitarra, o en la misma combinación de llaves de una flauta traversa. A esta coincidencia se le llama enarmonía, y resulta en una afinación casi idéntica. Casi, porque una tecla alcanzada como sostenido, nunca tiene la misma connotación emocional (ni musical) que la de un bemol, por lo que los grandes instrumentistas son perfectamente capaces de tocarlas de manera diferente, y el resultado musical es evidente al oído sensible o entrenado. Por el contrario, en instrumentos de afinación manual, como los de la familia del violín, o la voz humana, la nota resultante es realmente diferente y perceptible a nivel microtonal, acentuándose aún más la diferencia entre bemoles y sostenidos.

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In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in twelve-tone equal temperament (the currently predominant system of musical tuning in Western music), the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions. In other words, if two notes have the same pitch but are represented by different letter names and accidentals, they are enharmonic. "Enharmonic intervals are intervals with the same sound that are spelled differently… [resulting], of course, from enharmonic tones." Prior to this modern meaning, "enharmonic" referred to notes that were very close in pitch—closer than the smallest step of a diatonic scale—but not identical in pitch, such as F♯ and a flattened note such as G♭. as in enharmonic scale. "Enharmonic equivalence is peculiar to post-tonal theory." "Much music since at least the 18th century, however, exploits enharmonic equivalence for purposes of modulation and this requires that enharmonic equivalents in fact be equivalent." Some key signatures have an enharmonic equivalent that represents a scale identical in sound but spelled differently. The number of sharps and flats of two enharmonically equivalent keys sum to twelve. For example, the key of B major, with 5 sharps, is enharmonically equivalent to the key of C♭ major with 7 flats, and 5 (sharps) + 7 (flats) = 12. Keys past 7 sharps or flats exist only theoretically and not in practice. The enharmonic keys are six pairs, three major and three minor: B major/C♭ major, G♯ minor/A♭ minor, F♯ major/G♭ major, D♯ minor/E♭ minor, C♯ major/D♭ major and A♯ minor/B♭ minor. There are practically no works composed in keys that require double sharps or double flats in the key signature. In practice, musicians learn and practice 15 major and 15 minor keys, three more than 12 due to the enharmonic spellings. For example the intervals of a minor sixth on C, on B♯, and an augmented fifth on C are all enharmonic intervals . The most common enharmonic intervals are the augmented fourth and diminished fifth, or tritone, for example C–F♯ = C–G♭. Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with inverted or compound intervals.

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