In 1984, Mark STEEDMAN [7] proposed a generative grammar based on six context sensitive rewriting rules able to produce a large variety of blues chord sequences. Later, François PACHET [6] developed a method for analyzing jazz chord sequences. Then, Marc CHEMILLER [4] [5] uses STEEDMAN’s grammar to compose by computers jazz music based upon chord sequences generated by this grammar. About twent...

A computer program has been written which composes blues melodies to fit a given backing chord sequence. The program 1s compri sed of an analysis stage followed by a synthesis stage. The analysis stage takes blues tunes and produces zero, first and second order Markov transition tables coveri ng both pitches and rhythms. In order to capture the rel at ionship between harmony and melody, a set o...