Tonal parsimony in chord-sequence analysis: combining modulation cost and tonal vocabulary (arxiv.org)
arXiv:2606.03459v1 Announce Type: cross
Abstract: We study the assignment of local tonalities to chord sequences, a task useful for harmonic analysis, composition, and jazz-oriented improvisation. Standard dynamic-programming approaches minimize modulations but can introduce unnecessarily many tonal centers. We compare this transition-only objective with pure minimum-vocabulary analysis and with tonal parsimony, which minimizes lexicographically the number of modulations and then the number of distinct tonalities. Although this joint objective is combinatorially hard in general, we give exact algorithms exploiting the fixed 24-tonality major/minor universe. On 31,032 LMD Chords sequences, tonal parsimony preserves the transition optimum while reducing tonal vocabulary in 55.8% of cases. With weighted jazz-substitution closure, it lowers mean tonalities from 3.802 to 3.206 and modulations from 16.728 to 12.141. On 1,555 annotated jazz standards, it improves compatible chord-scale agreement to 95.6%, supporting tractable professional-scale harmonic analysis.
Abstract: We study the assignment of local tonalities to chord sequences, a task useful for harmonic analysis, composition, and jazz-oriented improvisation. Standard dynamic-programming approaches minimize modulations but can introduce unnecessarily many tonal centers. We compare this transition-only objective with pure minimum-vocabulary analysis and with tonal parsimony, which minimizes lexicographically the number of modulations and then the number of distinct tonalities. Although this joint objective is combinatorially hard in general, we give exact algorithms exploiting the fixed 24-tonality major/minor universe. On 31,032 LMD Chords sequences, tonal parsimony preserves the transition optimum while reducing tonal vocabulary in 55.8% of cases. With weighted jazz-substitution closure, it lowers mean tonalities from 3.802 to 3.206 and modulations from 16.728 to 12.141. On 1,555 annotated jazz standards, it improves compatible chord-scale agreement to 95.6%, supporting tractable professional-scale harmonic analysis.
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