Mathematical Principles of a Generalized Tonal Practice
Abstract
We develop mathematical principles for a generalized tonal practice. We begin with an algebraic theory of modes and scales, formalized as groups and torsors over cyclic groups, respectively. We identify three musically salient classes of mode isomorphism---translations, rotations, and deformations. Upon this basis we organize successive layers of harmonic structure into a hierarchy of Grothendieck fibrations, built from scale types (generalizing the diatonic scale), modes (generalizing the diatonic modes), orbit covers (generalizing their covering by tertian triads), deformation families (generalizing chromatic alteration, such as modal mixture and secondary chords), and harmonic-function assignments (generalizing the assignment of tonic, subdominant, and dominant function). Equipping the resulting structure with a generative syntax---generalizing Rohrmeier's generative grammar of tonal harmony---yields a formal definition of a harmonic practice: a harmonic vocabulary together with an assignment of harmonic functions and a generative syntax accommodating hierarchical harmonic organization. We show that harmonic practices form a category, with morphisms constituting an inheritance and enrichment of structure from one harmonic practice to another. The theory originates in the author's own compositional practice, developed initially through the series of compositions Op. 26--31.
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BibTeX
@misc{flieder2026mathematical,
title = {{Mathematical Principles of a Generalized Tonal Practice}},
author = {Drew Flieder},
howpublished = {arXiv},
year = {2026},
month = sep,
doi = {10.48550/arxiv.2609.22975},
eprint = {2609.22975},
archivePrefix = {arXiv},
url = {https://arxiv.org/abs/2609.22975},
}
RIS
TY - UNPB
TI - Mathematical Principles of a Generalized Tonal Practice
AU - Drew Flieder
PY - 2026
DA - 2026/09/19
PB - arXiv
DO - 10.48550/arxiv.2609.22975
UR - https://arxiv.org/abs/2609.22975
AB - We develop mathematical principles for a generalized tonal practice. We begin with an algebraic theory of modes and scales, formalized as groups and torsors over cyclic groups, respectively. We identify three musically salient classes of mode isomorphism---translations, rotations, and deformations. Upon this basis we organize successive layers of harmonic structure into a hierarchy of Grothendieck fibrations, built from scale types (generalizing the diatonic scale), modes (generalizing the diatonic modes), orbit covers (generalizing their covering by tertian triads), deformation families (generalizing chromatic alteration, such as modal mixture and secondary chords), and harmonic-function assignments (generalizing the assignment of tonic, subdominant, and dominant function). Equipping the resulting structure with a generative syntax---generalizing Rohrmeier's generative grammar of tonal harmony---yields a formal definition of a harmonic practice: a harmonic vocabulary together with an assignment of harmonic functions and a generative syntax accommodating hierarchical harmonic organization. We show that harmonic practices form a category, with morphisms constituting an inheritance and enrichment of structure from one harmonic practice to another. The theory originates in the author's own compositional practice, developed initially through the series of compositions Op. 26--31.
ER -