The analyse process was relatively simple in this case. Get On is based on a 12-bar blues pattern, the chord base consisting of the three main functions: I, IV and V. The 12'th bar differ from the other dominant function bars. It has a clear ending character, therefore I named it V1. In the 10'th bar the dominant stays from the previous bar instead of going to the subdominant as usual -just like in Johnny B. Goode.
The context-free grammar consists of hierarchical levels. Each level is divided into smaller units. For the highest level, I chose a 12-bar pattern, which I then divided into three 4-bar parts named A, B, C. These three parts were each divided into four separate bars according to the degree of chords:
12-bar pattern -> A B C A -> I I I I B -> IV IV I I C -> V V I V1
Each bar consists of terminal symbols. A terminal is a MIDI-coded note-number (C1 = 60, C#1 = 61 etc.) followed by a colon-separated duration value (1 is a quarter note, 0.5 an eight etc.). Click here to see the grammar.
I used the two solo sections and the ten different guitar licks from the chorus repetition in the end as a corpus. I left out the upbeat in the first solo section. Each note was transformed into a terminal symbol. I consider not to transform note expressions like bends or slurs into the MIDI-code system, so you will not hear any in the computer generated solos.
Get On: Music and Transcriptions