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It is more difficult to be certain of the exact tuning of each note within a tetrachord.

That’s true even during the exposition’s most hot-to-the-touch passage, a high-flown tetrachord of B, F sharp, F and E that emerges in the 16th minute.

Later, in an analysis of a mandala drawn by Coltrane for Yusef Lateef, he says that a reading of the diagram, “we get C, C-sharp, E, F and F-sharp, which is an all-interval tetrachord,” when a tetrachord has only four notes, and the all-interval tetrachord, which is asymmetric, couldn’t possibly be outlined in Coltrane’s entirely symmetric drawing.

Tetrachord, tet′ra-kord, n. a series of four sounds, forming a scale of two tones and a half.—adj.

In his system of scales the semitone was always between the 2nd and 3rd of a tetrachord, as G, A, ♭ B, C, so the ♮ B and ♯ F of the second octave were in false relation to the ♭ B and ♮F of the first two tetrachords.