The first time I observed Scaler had Unisons I was glad. The term was one I’d used for years for an instance where a single note (or sometimes Octave) is standing for a chord. Then I found a bug which I’m told will be patched in the next update.
As I’m sure you know, Unisons are a common part of many guitar parts, but also sounds great in horn parts, vocals, anything.
Scaler can be easily programmed to play melodic fragments, riffs, etc.
Guitar parts that go – Chord-note-note-note are very common in many styles.
Sometimes a VST-I is 'doing the work" and I want a single note only to unclutter the space to let the instrument’s patch do its thing.
Anyway, I use the standard music dictionary definition for Unison and I’m sticking to it.
I hope the patch can be made. It’s a small, but, imho, a non-trivial bug (see my posts under bug reports about this).
Scaler can easily create parts like this with Unisons (and more)
My understanding is that you could technically define a chord as C1, C2 and C3 in which case you have a three note chord playing Octaves or Unisono (my theorists here at scaler would call this ‘Pitch Class’). This is not at all uncommon in modern music and incidental unisons were used throughout classical orchestration. They don’t negate the need for harmony but do provide a rest or cleansing point. In sound design unison is extremely important as we use the same note, same pitch and spread them via detuning (in cents). So Unison has a place in composition, sound design and scaler
I agree with that, too. The Pitch Class Set theory is interesting. It’s very advanced material. My theoretical rooting is in traditional Jazz and Classical. George Russel’s classic Lydian Chromatic Concept of Tonal Organization was what first helped open my ears and better understand the sounds I was hearing. It’s considered “old fashioned” by some, maybe it is a bit, but I think it’s a masterpiece of music theory.