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Unison
Unison
Unison
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Perfect unison Playⓘ

In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. Rhythmic unison is another term for homorhythm.[1]

Definition

[edit]

unison
Inverseoctave
Name
Other namesperfect unison, prime, perfect prime
AbbreviationP1
Size
Semitones0
Interval class0
Just interval1:1
Cents
12-Tone equal temperament0
Just intonation0

Two pitches that are the same or two that move as one.[2]

Unison or perfect unison (also called a prime, or perfect prime)[3] may refer to the (pseudo-) interval formed by a tone and its duplication (in German, Unisono, Einklang, or Prime), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: play unison on C, piano and guitarⓘ; or of the same type: play unison on C, two pianosⓘ. This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices with different colors have, as sound waves, different waveforms. These waveforms have the same fundamental frequency but differ in the amplitudes of their higher harmonics. The unison is considered the most consonant interval while the near unison is considered the most dissonant. The unison is also the easiest interval to tune. The unison is abbreviated as "P1".

However, the unison was questioned by Zarlino as an interval for lacking contrast and compared to a point in geometry:

Equality is never found in consonances or intervals, and the unison is to the musician what the point is to the geometer. A point is the beginning of a line, although, it is not itself a line. But a line is not composed of points, since a point has no length, width, or depth that can be extended, or joined to another point. So a unison is only the beginning of consonance or interval; it is neither consonance nor interval, for like the point it is incapable of extension.[4]

Performance ensembles

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"Twinkle, Twinkle, Little Star" melody doubled in unison. Playⓘ clarinet & pizz. violin
"Twinkle, Twinkle, Little Star" melody doubled in four octaves. Playⓘ piano

Several singers singing a melody together.[2]

In orchestral music unison can mean the simultaneous playing of a note (or a series of notes constituting a melody) by different instruments, either at the same pitch; or in a different octave, for example, cello and double bass (all'unisono). Typically a section string player plays unison with the rest of the section. Occasionally the Italian word divisi (meaning divided, abbrev. div.) marks a point where an instrumental section, typically the first violins, is to be divided into two groups for rendering passages that might, for example, include full chords. Thus, in the divisi first violins the "outside" players (nearer the audience) might play the top note of the chord, while the "inside" seated players play the middle note, and the second violins play the bottom note. At the point where the first violins no longer play divisi, the score may indicate this with unison (abbrev. unis.).

When an entire choir sings the main melody, the choir usually sings in unison. Music in which all the notes sung are in unison is called monophonic. In a choir with two or more sections, such as for different vocal ranges, each section typically sings in unison. Part singing is when two or more voices sing different notes. Homophony is when choir members sing different pitches but with the same rhythm. Polyphony is when the chorus sings multiple independent melodies.

Synthesizer

[edit]

On synthesizers, the term unison is used to describe two or more oscillators generating the same pitch/notes as each other, which can result in a fatter or thicker sound (especially if tiny changes are made to each oscillator's tuning).

However, if each oscillator is tuned so far from the other oscillators that they aren't generating the same note then technically they aren't in unison.

If they are playing the same note but in a different octave then they are still in unison. For example, a melody consisting of A-B-C-B-A-A-A if played in a different octave is still A-B-C-B-A-A-A therefore this is still considered as in unison.

Unison refers to everything doing the same thing.

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Unison

View on Grokipedia
from Grokipedia
In music, unison is the simultaneous sounding of two or more musical parts at the same pitch or pitches separated by one or more . The term derives from the Latin words unus ("one") and sonus ("sound"), literally meaning "one sound," reflecting the coincidence of tones. Acoustically, notes in unison have a ratio of 1:1 (perfect unison) or powers of 2:1 for octave unisons, producing a reinforced, harmonious effect without dissonance. Unison playing or is fundamental in ensembles for achieving unity and power, and it forms the basis for concepts like doubling in and choral arrangements.

Fundamentals in Music Theory

Definition and Etymology

In music theory, unison denotes two or more musical parts sounding simultaneously at the same pitch or at pitches separated by one or more octaves, yielding a maximally effect due to their perfect alignment. This configuration is termed the perfect unison (P1), representing an interval of 0 semitones with a of 1:1, distinguishing it from other intervals by its lack of pitch separation. The word "unison" originates from unisonus, meaning "having one sound," formed by combining uni- ("one") and sonus ("sound"); it entered around the mid-15th century via unisson, initially applied in musical contexts to describe notes of identical pitch, including those an octave apart. In medieval , the term encapsulated the idea of unified sonic emission, contrasting with polyphonic divergence. Boethius, in his 6th-century treatise De institutione musica, introduced unisonus as the primary consonance, defined by a ratio of equality (1:1), positioning it as the baseline for all intervallic proportions alongside the (2:1), fifth (3:2), and fourth (4:3). By the , d'Arezzo referenced the unison in his Micrologus within discussions of hexachordal and melodic progression, inheriting 's framework. Octave displacements extend this unity, treating higher or lower equivalents as functionally identical.

Acoustic Properties and Tuning

The unison interval exhibits maximum consonance due to its basis in identical or harmonically related frequencies, such as the 1:1 ratio for a perfect unison or the 2:1 ratio for an , which align vibrations without disruptive interference. In acoustic terms, when two tones share the exact same pitch, their waveforms coincide perfectly, producing a unified that lacks the roughness associated with other intervals. This consonance arises from the reinforcement of partials, the harmonic overtones present in complex tones like those from musical instruments. In a perfectly tuned unison, the fundamental frequencies match, as do all corresponding upper partials, leading to constructive interference that amplifies the shared harmonics without generating beats—audible amplitude pulsations from mismatched frequencies. The result is a beat-free, smooth , as the identical partials phase-lock, enhancing perceived purity and stability in the sound. Achieving precise tuning in practice presents challenges, as even minor detuning—often as small as a few cents—causes corresponding partials to differ slightly, producing beats that increase in speed with the degree of mismatch. On string instruments, such as violins or guitars, this is evident when aligning multiple open strings to a unison; tuners must listen for the "wavy" or rough interference to subside into a steady tone, a complicated by the instrument's and player perception. Historical tuning systems further influence unison stability, particularly when multiple unisons span an instrument's range. , derived from simple integer ratios like 3:2 for fifths, supports pure unisons by maintaining beat-free alignments within harmonic series, ideal for modal music but limited in modulation. In contrast, divides the into twelve equal semitones, tempering intervals for versatility but introducing subtle deviations from pure ratios that can affect unison precision in ensembles. The , approximately 23.46 cents, emerges in —a subset of based on stacked fifths—creating a cumulative mismatch after twelve fifths, which disrupts the exact closure of the scale and thus the stability of unisons across all keys.

Applications in Performance

In Instrumental Ensembles

In orchestral settings, unison playing among low strings such as cellos and double basses serves to reinforce foundational bass lines, providing structural support and depth to the harmonic foundation. This technique, common in the Classical period, involves the double basses typically doubling the cellos either in unison or at the octave below, enhancing the overall resonance without introducing harmonic complexity. Ludwig van Beethoven frequently employed this approach in his symphonies; for instance, in Symphony No. 9, the cellos and double basses play in octave unison during key transitional passages to underscore rhythmic motifs and maintain ensemble cohesion. In , particularly string quartets, unison passages foster thematic unity by aligning all instruments on a single melodic line, creating a sense of collective purpose and textural homogeneity. Joseph Haydn's String Quartets, Op. 76, exemplify this, where unisons act as structural hinges that consolidate voices and emphasize motivic development. For example, in Op. 76 No. 1, unison statements in the first movement (bars 56–63) serve as virtuosic displays that reinforce ensemble agreement and propel the thematic narrative forward. These moments highlight the quartet's intimate coordination, blending individual timbres into a unified whole that underscores Haydn's innovative approach to and balance. Wind bands and ensembles utilize unison passages in marches and fanfares to achieve clarity and projection, particularly in outdoor or ceremonial contexts where harmonic density might obscure melodic lines. Brass and woodwind sections often play in unison to cut through ambient noise, but this demands precise intonation to mitigate discrepancies arising from differing instrument acoustics— tends toward sharper tuning under pressure, while woodwinds require careful adjustments. Unison playing across dissimilar instruments, such as and , produces distinctive effects by merging contrasting sonic colors into a richer, composite texture without relying on . This blending leverages acoustic consonance from precise tuning, where the 's resonance complements the 's airy , resulting in a luminous yet grounded ideal for melodic prominence in orchestral ensembles. Studies of orchestral excerpts reveal that such unisons enhance perceptual fusion when onsets align and spectral overlaps are minimal, as seen in Aaron Copland's integrations of with strings for ethereal lifts.

In Vocal and Choral Settings

In choral music, singing occurs when all voices perform the same line simultaneously, creating a monophonic texture that emphasizes unity and clarity. This technique is prevalent in sacred and folk traditions, such as , where choirs sing unaccompanied melodies in unison to focus on the text and liturgical rhythm without harmonic complexity. Similarly, American folk songs like "Shenandoah" are often rendered in unison by ensembles to evoke communal storytelling and simplicity, preserving the oral tradition's monophonic origins. Unison represents the simplest form of , contrasting with where multiple independent lines interweave to produce . In vocal settings, monophonic unison serves for dramatic emphasis or accessibility, as seen in hymns and anthems where sections begin in unison before expanding into fuller textures. This approach highlights unison's role in building emotional intensity and ensuring textual intelligibility in choral works. Achieving a cohesive vocal blend in unison requires precise techniques to merge individual voices into a seamless whole, particularly in groups where no instruments mask discrepancies. Singers must match vowel shapes uniformly to align and avoid dissonant overtones that cause phasing or beating s. Breath control is equally vital, with coordinated and phrasing to maintain steady dynamics and prevent audible gasps or uneven phrasing that disrupt the ensemble's unity. Groups like or exemplify this through exercises focusing on unified onset and release, resulting in a homogeneous that enhances the monophonic line's purity. The intervals in unison naturally support group tuning by minimizing pitch disputes among singers. Beyond Western traditions, unison features prominently in non-Western vocal practices, underscoring cultural values of collectivity. In the Islamic , the call to prayer, while typically a solo proclamation, can involve group recitation in communal settings to synchronize the community's response and devotion. In African musical forms, call-and-response structures often culminate in unison alignments, where the responding group echoes the leader's phrase exactly to reinforce social cohesion, as observed in Ewe and Yoruba traditions. These examples illustrate unison's universal function in fostering ensemble solidarity across diverse vocal cultures.

Modern and Electronic Contexts

Synthesizer and Oscillator Techniques

In design, oscillator unison involves configuring multiple oscillators to produce the same fundamental pitch, often with slight detuning to create a thicker, richer sound through phase interactions and reinforcement. This technique mimics the natural chorusing effect of analog imperfections, where minor pitch variations among oscillators result in a fuller without requiring modulation sources like LFOs. Early implementations appeared in monophonic analog synthesizers of the 1970s, such as the Moog Minimoog, where users manually tuned its three voltage-controlled oscillators (VCOs) to unison—typically using sawtooth or square waveforms—to achieve a dense, aggressive tone characterized by subtle beating when all oscillators align closely. The concept evolved with polyphonic synthesizers in the late 1970s, introducing dedicated unison modes that automatically stack voices across the instrument's polyphony for monophonic play. The , released in 1978, featured a unison mode that engaged all four voices in parallel, producing a powerful, ensemble-like output from its digitally controlled oscillators (DCOs), which helped popularize the approach in both studio and live settings. By the early 1980s, the Juno series refined this further; for instance, the Juno-106 used unison by combining poly modes (Poly 1 and Poly 2 buttons), assigning all voices to a single note for a chorus-like effect achieved through inherent DCO detuning rather than additional processing, contributing to the lush pads and leads iconic of 1980s pop and . Modern digital synthesizers expand unison capabilities with programmable parameters for greater control in . In wavetable synths like Xfer Records' Serum, each oscillator supports up to 16 unison voices, with adjustable detune (typically in the range of 5-10 cents per voice) and blend controls that distribute voices across the stereo field, allowing precise tuning of thickness and spread to avoid muddiness. These features build on analog principles but leverage DSP for higher voice counts (up to 32 in some plugins) and real-time modulation. A prominent application of unison techniques is the creation of "super saw" waveshapes, where multiple detuned sawtooth oscillators are stacked—often 7-16 with fine detuning around 5-15 cents—to a bright, shimmering cloud ideal for EDM leads and chords. This sound, popularized in trance and big room genres since the mid-1990s, relies on the cumulative from unison stacking to fill the , evoking a massive, synthetic without additional layering. Designers typically apply subtle high-pass filtering and reverb to enhance clarity, making super saws a staple for building tension in drops and breakdowns.

Audio Production and Effects

In audio production, doubling techniques involve recording multiple takes of the same vocal or part and panning them across the stereo field to simulate a pseudo-unison effect, enhancing width and richness without introducing true harmonic intervals. This method creates a natural thickening by leveraging slight timing and pitch variations inherent in human performance, resulting in a fuller soundstage. A seminal example is the production of ' "," where John Lennon's lead vocals were double-tracked and subtly panned to add depth to the psychedelic texture, a technique that contributed to the track's immersive quality. Digital audio workstations (DAWs) incorporate unison effects through plugins that detune multiple virtual slightly to mimic ensemble playing. In , the Sampler's Unison mode activates multiple per note, each detuned subtly to produce a richer, more expansive tone suitable for both acoustic simulations and synthetic elements. Similarly, Waves OVox Vocal ReSynthesis employs unison voice stacking, such as configuring three detuned oscillators alongside the original signal, to thicken vocals with pitch correction and harmonization, enabling producers to achieve layered density efficiently. Stereo imaging in unison contexts often relies on short or micro pitch shifts applied to duplicated tracks, expanding the perceived spatial depth while maintaining tonal unity. Unison , typically set to 20-40 milliseconds with opposite panning, avoid phasing issues and create a Haas effect that widens the image without altering . Slight pitch shifts, around 5-15 cents, further enhance this by introducing chorusing-like movement, as used in modern mixes to add dimension to mono-compatible sources. Contemporary applications of unison techniques appear prominently in hip-hop vocal stacks, where producers layer multiple ad-libs and doubles in unison to build energy and presence, often panned or detuned for rhythmic drive. In film scores, hybrid arrangements blending orchestral sections with synthesizers employ unison lines to forge immersive soundscapes; for instance, Hans Zimmer's scores frequently layer strings and synth pads in unison to amplify emotional intensity, as pioneered in his synthesizer-orchestra integrations starting with .

References

  1. https://www.merriam-webster.com/dictionary/unison
  2. https://www.etymonline.com/word/unison
  3. https://microtonal.miraheze.org/wiki/Unison
  4. https://www.pianoscales.org/unison.html
  5. https://www.oed.com/dictionary/unison_n
  6. https://classicalliberalarts.com/wp-content/uploads/BOETHIUS-Bower-1989-Fundamentals_of_Music.pdf
  7. https://www.mtsu.edu/faculty/wroberts/teaching/consonance.php
  8. https://sensationsoftone.com/Chapter9.html
  9. https://kansasmusicreview.com/2017/07/31/how-to-teach-stringed-instrument-tuning/
  10. http://www.medieval.org/emfaq/harmony/pyth5.html
  11. https://digital.library.unt.edu/ark:/67531/metadc984192/m2/1/high_res_d/SHIH-DISSERTATION-2017.pdf
  12. https://remix.berklee.edu/cgi/viewcontent.cgi?article=1026&context=haydn-journal
  13. https://www.mcgill.ca/mpcl/files/mpcl/mcadams_2025_mussci.pdf
  14. https://orchestrasounds.com/2017/03/24/69-woodwind-exploration-1/
  15. https://www.americamagazine.org/arts-culture/2018/03/07/brief-history-gregorian-chant/
  16. https://www.musictheoryacademy.com/understanding-music/musical-texture/
  17. http://www.medieval.org/emfaq/misc/homophony.html
  18. https://digital.library.unt.edu/ark:/67531/metadc663399/m2/1/high_res_d/1002774128-Wyatt.pdf
  19. https://mospace.umsystem.edu/xmlui/bitstream/handle/10355/4126/research.pdf?sequence=3
  20. https://digitalcommons.memphis.edu/cgi/viewcontent.cgi?article=1110&context=facpubs
  21. https://viva.pressbooks.pub/openmusictheory/chapter/texture/
  22. https://www.academia.edu/50351477/The_Adhan_that_Emerged_from_the_Stadium_A_Sacred_Sound_in_a_Secular_Context_KCL_MMus_Dissertation_
  23. https://academic.oup.com/book/12471/chapter/162873820
  24. https://www.mdpi.com/2076-0752/14/3/68
  25. https://www.soundonsound.com/reviews/moog-minimoog-204e
  26. https://rolandcorp.com.au/blog/roland-synth-chronicle-1973-2014
  27. https://www.roland.com/uk/blog/roland-icon-series-juno-106-synthesizer/
  28. https://splice.com/blog/exploring-the-feautres-of-xfer-records-serum/
  29. https://producelikeapro.com/blog/supersaw-synth-explained/
  30. https://www.columbia.edu/~brennan/beatles/strawberry-fields.html
  31. https://theproaudiofiles.com/beatles-production-techniques/
  32. https://support.apple.com/en-by/guide/logicpro/lgcpe4ea2c32/mac
  33. https://www.waves.com/ovox-vocal-resynthesis-free-hip-hop-preset-pack-tips
  34. https://www.waves.com/plugins/ovox-vocal-resynthesis
  35. https://www.soundonsound.com/sound-advice/q-how-should-set-stereo-widening-delay-effects
  36. https://www.macprovideo.com/article/mixing-and-mastering/5-mistakes-to-avoid-for-stereo-image-processing-when-mixing
  37. https://www.sageaudio.com/articles/how-to-stack-vocals
  38. https://musictech.com/news/music/hans-zimmer-rain-man-score-orchestras-synths/
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