UNISON IN MUSIC PLUS
UNISON IN MUSIC SERIES

Christensen, Foundations of Music, seventh edition (Boston: Schirmer Cengage Learning, 2008): 169.

Cesar-Auguste Monti-Punti, Les secrets de la musique ou théorie musicale, edited by Pierre Rigaud (Paris: Leduc, 1846): 63, 72, 77.Robert Middleton, Harmony in Modern Counterpoint (Boston: Allyn and Bacon, 1967): 20.Tufts, Designed to Aid Those who Teach Vocal Music (Boston, New York, Chicago: Silver, Burdett, and Company, 1896): 47–48.

UNISON IN MUSIC SERIES

Frederic Allison Lyman, The Normal Music Course in the Schoolroom: Being a Practical Exposition of the Normal Music Course, Together with Its Complemental Series, The Cecilian Series of Study and Song, by John W.Saur Berlin: Walter De Gruyter, 1992): 324. Horst Leuchtmann, Dictionary of Terms in Music / Wörterbuch Musik: English–German, German–English, fourth, revised and enlarged edition (Munich, London, New York, and Paris: K.The Guild of Carillonneurs in North America. Alexander Lehr, Campanology Textbook: The Musical and Technical Aspect of Swinging Bells and Carillons, constituting Bulletin of the Guild of Carillonneurs in North America Volume 54 (2005): 51.Oskar Kolbe, Kurzgefasste Generalbasslehre, second, enlarged and corrected edition (Leipzig: Breitkopf und Härtel, 1872): 12.Anton Gräffer, Systematische Guitarre-Schule, Erster Theil (Vienna: Anton Strauß, 1811): 38.Castil-Blaze, Dictionnaire de musique moderne (Brussels: L'Academie de musique, 1828): 269.

UNISON IN MUSIC PLUS

Alexandre Choron, Principes de Composition des Ecoles d'Italie: Adoptés par le Gouvernement Français pour servir à l'instruction des Elèves des Maîtrises de Cathédrales: ouvrage classique formé de la réunion des modèles les plus parfaits en tout genre, enrichi d'un texte méthodique rédigé selon l'enseignement des Ecoles les plus célèbres et des Ecrivains didactiques les plus estimés, Tome premier, Contenant la préface & les Trois premiers Livres (Paris, 1808): 2.

Henry Charles Banister, A Text-book of Music (London: George Bell and Sons, 1872): 34.

Johann Georg Albrechtsberger, Methods of Harmony, Figured Base, and Composition: Adapted for Self-Instruction, Volume 1, edited by Ignaz Seyfried (Ritter von), and Alexandre Choron (London: R.

Some theoreticians make a distinction for this diminished form of the unison, stating it is only valid as a melodic interval, not a harmonic one. The term is sometimes justified as a negative-numbered interval, and also in terms of violin double-stopping technique on analogy to parallel intervals found on other strings. Other sources reject the possibility or utility of the diminished unison on the grounds that any alteration to the unison increases its size, thus augmenting rather than diminishing it. It is found once in Rameau's writings, for example, as well as subsequent French, German, and English sources. The term diminished unison or diminished prime is also found occasionally. In 12-tone equal temperament, it is the enharmonic equivalent of a diatonic semitone or minor second, although in other tunings the diatonic semitone is a different interval. Historically, this interval, like the tritone, is described as being 'mi contra fa', and therefore is the 'diabolus in musica' (the Devil in music). The term, in its French form unisson superflu, appears to have been coined by Jean-Philippe Rameau in 1722, who also called this interval a minor semitone ( semiton mineur). The interval is often described as a chromatic semitone. In other words, it is a unison where one note has been altered by a half-step, such as B ♭ and B ♮ or C ♮ and C ♯. In modern Western tonal music theory an augmented unison or augmented prime is the interval between two notes on the same staff position, or denoted by the same note letter, whose alterations cause them, in ordinary equal temperament, to be one semitone apart. Musical interval Augmented unison Inverse

Unison in music