In this paper, my aim is to sketch out a pedagogical concept departing from the existing musical term sympathetic resonance. This is an admittedly experimental endeavor, serving to test out the currency of an already well-established term in a conceptual landscape that is foreign to it. What I hope to attain by this is to open up for a new array of questions for the philosophy of education, indicating a novel approach to the study of pedagogical relations. My hypothesis, such as it is, is that sympathetic resonance stands to offer a conceptual guide for understanding how teaching a group of students can work by teachers (knowingly or unknowingly) offering various overtones to be latched onto and elaborated in different ways by different students. I am specifically not intending to use sympathetic resonance as a metaphor, however, as I aim to propose it as a pedagogical concept capable of illuminating what happens in teaching when teachers and students find degrees of resonance that carry overtones easily disregarded and mislabeled as mere background noise. I am also not intending to construe sympathetic resonance as a teaching method to develop and promote, but rather as a conceptual tool for better understanding the complex dynamics of maintaining parallel pedagogical relationships.