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Reharmonization TechniquesRandy Felts

Chapter 11Line Clicheacutes

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105

A line clicheacute is a stepwise descending or ascending line that moves against a single sta-tionary chord Line clicheacutes may be used to reharmonize melodic phrases that are largelydiatonic to a single key Famous line clicheacute tunes include rdquoMy Funny ValentinerdquoldquoMichellerdquo and the ldquoBondrdquo theme from the early James Bond films

In order to use a line clicheacute as a reharmonization technique find a melodic phrase inwhich most of the notes are diatonic to the key Then eliminate the original progressionand insert a single major or minor chord that is compatible with the melody notes Youcan then embellish this chord with a line clicheacute The example below illustrates thisprocess

Fig 113 Original form

Andash Endash FMaj7 Bndash7

Indash Vndash VIMaj7 IIndash7

11111111 Line Clicheacutes

Fig 112 Typical ascending line clicheacute

Andash Andash( 5) Andash6 Andash( 5)

Fig 111 Typical descending line clicheacute

Andash Andash(Maj7) Andash7 Andash6

106

Andash

Indash

Fig 118 Line clicheacute with faster harmonic rhythm

AndashG AndashF AndashE Andash AndashG AndashF AndashE

Indash 7 Indash 6 Indash5

The next example shows a chromatic line that rises and falls against the static minorchord The line clicheacute movement is most often in half steps between the fifth and root ofthe chord being embellished

Although most line clicheacutes move in half-step increments whole step motion between thefifth and the root is also possible Fig 117 illustrates a line clicheacute derived from theAeolian scale

The harmonic rhythm of the line clicheacute also may be varied The example below doublesthe number of chords per measure

Fig 117 Aeolian line clicheacute

Andash

Indash

AndashG AndashF

Indash 7 Indash 6

AndashE

Indash5

line clicheacutes

Fig 115 Line clicheacute added chromatic line descends in half steps against a static minor chord

Andash

Indash

AndashG AndashG AndashF

IndashMaj7 Indash 7 Indash6

Fig 114 Phrase reharmonized with a single chord that is harmonically compatible with the melodic material

Andash

Indash

Andash Andash Andash

Fig 116 Line clicheacute

Andash

Indash

Andash( 5) Andash7

Indash( 5) Indash7

Andash( 5)

Indash( 5)

107

The example in fig 119 is a good candidate for a line clicheacute All the melody notes arediatonic to a single key

The next example is also reharmonized with line clicheacutes The moving line illustrates thatthe descending (or ascending) line does not have to move exclusively by half stepsWhole-step motion also works and is sometimes needed to prevent melodyharmonyclashes

Fig 1110 Line clicheacute added

Andash

IVndash

Endash

Endash

Indash

EndashD

Indash7

EndashD

Indash 7

EndashC

Indash6

Endash EndashD EndashD EndashC

AndashG AndashG AndashF Endash EndashD EndashD EndashC

IVndash7 IVndash 7 IVndash6

Fig 119 Original form

Andash

IVndash

Endash

Indash

Endash

Indash

Fig 1111 Original form

3 3 3 3 3

3

B ndash

Indash

3 3 3G Maj7

VIMaj7

3

B ndash G Maj7 B

Indash VIMaj7 Indash

108

The harmonic rhythm should fit with the performance tempo If the song is played at afast tempo a harmonic rhythm of one chord per measure will sound smooth

If performance tempo is very fast an even more sparse and extended harmonic rhythmwould be a good choice

Fig 1112 Line clicheacute added

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndashA

Indash 7

3

B ndash B ndash( 5) B ndash

Indash Indash( 5) Indash

B ndashGB ndashA

Indash7 Indash 6

B ndash6

Indash6

line clicheacutes

Fig 1113 A faster tempo calls for a slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndash6

Indash 7

3

B ndash B ndash7 B ndash

Indash Indash7 Indash

B ndash( 5)

Indash7

Indash( 5)

B ndash( 5)

Indash

B ndash( 5) B ndash( 5)

Indash( 5)

Fig 1114 A very fast tempo calls for an even slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3

Indash( 5)

3

B ndash6

Indash6 Indash

B ndash( 5)

Indash( 5)

B ndash( 5)

109

Line clicheacutes may also be used to reharmonize melodies in major keys

Although line clicheacutes are found on the I chord more often than on other diatonic chordsa short line clicheacute (one measure or less) may be applied to any diatonic chord

The line clicheacute allows the writer to sustain a particular chord while adding momentum tothe progression However repeated use of a line clicheacute on a chord other than the ldquoIrdquomay cause the listener to hear the chord being embellished by the line clicheacute as a new Ichord Overuse of this technique may weaken the sense of key within the progression

The example below uses short line clicheacutes based on IIndash7 and IVMaj7 Notice theincreased sense of motion and the varied rhythmic placement of the lines Each lineclicheacute leads to its target chord by stepwise motion

Fig 1115 Original form

3

B B 73

E Maj73

E ndash73

Cndash73

F7 B

B

I

3 3Gndash7

VIndash7

Cndash7

IIndash7

F7

V7

B

I

3 3Gndash7

VIndash7

3Cndash7

IIndash7

F7

V7

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

B B ( 5) B 6 B ( 5) B B ( 5) B 6 B ( 5)

I I( 5) I6 I( 5) I

3 3 3 3 3

B B ( 5) B 6 B ( 5) Cndash7 Cndash7B F7A F7( 5)A B

IIndash7 IIndash7 7 V73 V7( 5)3 I

Fig 1116 Reharmonized using line clicheacutes

3 3 3 3 3

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example

106

Andash

Indash

Fig 118 Line clicheacute with faster harmonic rhythm

AndashG AndashF AndashE Andash AndashG AndashF AndashE

Indash 7 Indash 6 Indash5

The next example shows a chromatic line that rises and falls against the static minorchord The line clicheacute movement is most often in half steps between the fifth and root ofthe chord being embellished

Although most line clicheacutes move in half-step increments whole step motion between thefifth and the root is also possible Fig 117 illustrates a line clicheacute derived from theAeolian scale

The harmonic rhythm of the line clicheacute also may be varied The example below doublesthe number of chords per measure

Fig 117 Aeolian line clicheacute

Andash

Indash

AndashG AndashF

Indash 7 Indash 6

AndashE

Indash5

line clicheacutes

Fig 115 Line clicheacute added chromatic line descends in half steps against a static minor chord

Andash

Indash

AndashG AndashG AndashF

IndashMaj7 Indash 7 Indash6

Fig 114 Phrase reharmonized with a single chord that is harmonically compatible with the melodic material

Andash

Indash

Andash Andash Andash

Fig 116 Line clicheacute

Andash

Indash

Andash( 5) Andash7

Indash( 5) Indash7

Andash( 5)

Indash( 5)

107

The example in fig 119 is a good candidate for a line clicheacute All the melody notes arediatonic to a single key

The next example is also reharmonized with line clicheacutes The moving line illustrates thatthe descending (or ascending) line does not have to move exclusively by half stepsWhole-step motion also works and is sometimes needed to prevent melodyharmonyclashes

Fig 1110 Line clicheacute added

Andash

IVndash

Endash

Endash

Indash

EndashD

Indash7

EndashD

Indash 7

EndashC

Indash6

Endash EndashD EndashD EndashC

AndashG AndashG AndashF Endash EndashD EndashD EndashC

IVndash7 IVndash 7 IVndash6

Fig 119 Original form

Andash

IVndash

Endash

Indash

Endash

Indash

Fig 1111 Original form

3 3 3 3 3

3

B ndash

Indash

3 3 3G Maj7

VIMaj7

3

B ndash G Maj7 B

Indash VIMaj7 Indash

108

The harmonic rhythm should fit with the performance tempo If the song is played at afast tempo a harmonic rhythm of one chord per measure will sound smooth

If performance tempo is very fast an even more sparse and extended harmonic rhythmwould be a good choice

Fig 1112 Line clicheacute added

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndashA

Indash 7

3

B ndash B ndash( 5) B ndash

Indash Indash( 5) Indash

B ndashGB ndashA

Indash7 Indash 6

B ndash6

Indash6

line clicheacutes

Fig 1113 A faster tempo calls for a slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndash6

Indash 7

3

B ndash B ndash7 B ndash

Indash Indash7 Indash

B ndash( 5)

Indash7

Indash( 5)

B ndash( 5)

Indash

B ndash( 5) B ndash( 5)

Indash( 5)

Fig 1114 A very fast tempo calls for an even slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3

Indash( 5)

3

B ndash6

Indash6 Indash

B ndash( 5)

Indash( 5)

B ndash( 5)

109

Line clicheacutes may also be used to reharmonize melodies in major keys

Although line clicheacutes are found on the I chord more often than on other diatonic chordsa short line clicheacute (one measure or less) may be applied to any diatonic chord

The line clicheacute allows the writer to sustain a particular chord while adding momentum tothe progression However repeated use of a line clicheacute on a chord other than the ldquoIrdquomay cause the listener to hear the chord being embellished by the line clicheacute as a new Ichord Overuse of this technique may weaken the sense of key within the progression

The example below uses short line clicheacutes based on IIndash7 and IVMaj7 Notice theincreased sense of motion and the varied rhythmic placement of the lines Each lineclicheacute leads to its target chord by stepwise motion

Fig 1115 Original form

3

B B 73

E Maj73

E ndash73

Cndash73

F7 B

B

I

3 3Gndash7

VIndash7

Cndash7

IIndash7

F7

V7

B

I

3 3Gndash7

VIndash7

3Cndash7

IIndash7

F7

V7

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

B B ( 5) B 6 B ( 5) B B ( 5) B 6 B ( 5)

I I( 5) I6 I( 5) I

3 3 3 3 3

B B ( 5) B 6 B ( 5) Cndash7 Cndash7B F7A F7( 5)A B

IIndash7 IIndash7 7 V73 V7( 5)3 I

Fig 1116 Reharmonized using line clicheacutes

3 3 3 3 3

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example

107

The example in fig 119 is a good candidate for a line clicheacute All the melody notes arediatonic to a single key

The next example is also reharmonized with line clicheacutes The moving line illustrates thatthe descending (or ascending) line does not have to move exclusively by half stepsWhole-step motion also works and is sometimes needed to prevent melodyharmonyclashes

Fig 1110 Line clicheacute added

Andash

IVndash

Endash

Endash

Indash

EndashD

Indash7

EndashD

Indash 7

EndashC

Indash6

Endash EndashD EndashD EndashC

AndashG AndashG AndashF Endash EndashD EndashD EndashC

IVndash7 IVndash 7 IVndash6

Fig 119 Original form

Andash

IVndash

Endash

Indash

Endash

Indash

Fig 1111 Original form

3 3 3 3 3

3

B ndash

Indash

3 3 3G Maj7

VIMaj7

3

B ndash G Maj7 B

Indash VIMaj7 Indash

108

The harmonic rhythm should fit with the performance tempo If the song is played at afast tempo a harmonic rhythm of one chord per measure will sound smooth

If performance tempo is very fast an even more sparse and extended harmonic rhythmwould be a good choice

Fig 1112 Line clicheacute added

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndashA

Indash 7

3

B ndash B ndash( 5) B ndash

Indash Indash( 5) Indash

B ndashGB ndashA

Indash7 Indash 6

B ndash6

Indash6

line clicheacutes

Fig 1113 A faster tempo calls for a slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndash6

Indash 7

3

B ndash B ndash7 B ndash

Indash Indash7 Indash

B ndash( 5)

Indash7

Indash( 5)

B ndash( 5)

Indash

B ndash( 5) B ndash( 5)

Indash( 5)

Fig 1114 A very fast tempo calls for an even slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3

Indash( 5)

3

B ndash6

Indash6 Indash

B ndash( 5)

Indash( 5)

B ndash( 5)

109

Line clicheacutes may also be used to reharmonize melodies in major keys

Although line clicheacutes are found on the I chord more often than on other diatonic chordsa short line clicheacute (one measure or less) may be applied to any diatonic chord

The line clicheacute allows the writer to sustain a particular chord while adding momentum tothe progression However repeated use of a line clicheacute on a chord other than the ldquoIrdquomay cause the listener to hear the chord being embellished by the line clicheacute as a new Ichord Overuse of this technique may weaken the sense of key within the progression

The example below uses short line clicheacutes based on IIndash7 and IVMaj7 Notice theincreased sense of motion and the varied rhythmic placement of the lines Each lineclicheacute leads to its target chord by stepwise motion

Fig 1115 Original form

3

B B 73

E Maj73

E ndash73

Cndash73

F7 B

B

I

3 3Gndash7

VIndash7

Cndash7

IIndash7

F7

V7

B

I

3 3Gndash7

VIndash7

3Cndash7

IIndash7

F7

V7

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

B B ( 5) B 6 B ( 5) B B ( 5) B 6 B ( 5)

I I( 5) I6 I( 5) I

3 3 3 3 3

B B ( 5) B 6 B ( 5) Cndash7 Cndash7B F7A F7( 5)A B

IIndash7 IIndash7 7 V73 V7( 5)3 I

Fig 1116 Reharmonized using line clicheacutes

3 3 3 3 3

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example

108

The harmonic rhythm should fit with the performance tempo If the song is played at afast tempo a harmonic rhythm of one chord per measure will sound smooth

If performance tempo is very fast an even more sparse and extended harmonic rhythmwould be a good choice

Fig 1112 Line clicheacute added

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndashA

Indash 7

3

B ndash B ndash( 5) B ndash

Indash Indash( 5) Indash

B ndashGB ndashA

Indash7 Indash 6

B ndash6

Indash6

line clicheacutes

Fig 1113 A faster tempo calls for a slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3B ndash6

Indash 7

3

B ndash B ndash7 B ndash

Indash Indash7 Indash

B ndash( 5)

Indash7

Indash( 5)

B ndash( 5)

Indash

B ndash( 5) B ndash( 5)

Indash( 5)

Fig 1114 A very fast tempo calls for an even slower harmonic rhythm

3 3 3 3 3

3

B ndash

Indash

3 3 3

Indash( 5)

3

B ndash6

Indash6 Indash

B ndash( 5)

Indash( 5)

B ndash( 5)

109

Line clicheacutes may also be used to reharmonize melodies in major keys

Although line clicheacutes are found on the I chord more often than on other diatonic chordsa short line clicheacute (one measure or less) may be applied to any diatonic chord

The line clicheacute allows the writer to sustain a particular chord while adding momentum tothe progression However repeated use of a line clicheacute on a chord other than the ldquoIrdquomay cause the listener to hear the chord being embellished by the line clicheacute as a new Ichord Overuse of this technique may weaken the sense of key within the progression

The example below uses short line clicheacutes based on IIndash7 and IVMaj7 Notice theincreased sense of motion and the varied rhythmic placement of the lines Each lineclicheacute leads to its target chord by stepwise motion

Fig 1115 Original form

3

B B 73

E Maj73

E ndash73

Cndash73

F7 B

B

I

3 3Gndash7

VIndash7

Cndash7

IIndash7

F7

V7

B

I

3 3Gndash7

VIndash7

3Cndash7

IIndash7

F7

V7

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

B B ( 5) B 6 B ( 5) B B ( 5) B 6 B ( 5)

I I( 5) I6 I( 5) I

3 3 3 3 3

B B ( 5) B 6 B ( 5) Cndash7 Cndash7B F7A F7( 5)A B

IIndash7 IIndash7 7 V73 V7( 5)3 I

Fig 1116 Reharmonized using line clicheacutes

3 3 3 3 3

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example

109

Line clicheacutes may also be used to reharmonize melodies in major keys

Although line clicheacutes are found on the I chord more often than on other diatonic chordsa short line clicheacute (one measure or less) may be applied to any diatonic chord

The line clicheacute allows the writer to sustain a particular chord while adding momentum tothe progression However repeated use of a line clicheacute on a chord other than the ldquoIrdquomay cause the listener to hear the chord being embellished by the line clicheacute as a new Ichord Overuse of this technique may weaken the sense of key within the progression

The example below uses short line clicheacutes based on IIndash7 and IVMaj7 Notice theincreased sense of motion and the varied rhythmic placement of the lines Each lineclicheacute leads to its target chord by stepwise motion

Fig 1115 Original form

3

B B 73

E Maj73

E ndash73

Cndash73

F7 B

B

I

3 3Gndash7

VIndash7

Cndash7

IIndash7

F7

V7

B

I

3 3Gndash7

VIndash7

3Cndash7

IIndash7

F7

V7

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

B B ( 5) B 6 B ( 5) B B ( 5) B 6 B ( 5)

I I( 5) I6 I( 5) I

3 3 3 3 3

B B ( 5) B 6 B ( 5) Cndash7 Cndash7B F7A F7( 5)A B

IIndash7 IIndash7 7 V73 V7( 5)3 I

Fig 1116 Reharmonized using line clicheacutes

3 3 3 3 3

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example

B Gndash7 Gndash7F Cndash7E F7 B Gndash7 Cndash7 F7 F7E

I VIndash7 VIndash7 7 IIndash7 3 V7 I VIndash7 IIndash7 V7 V7 7

3 3 3 3 3

B D B 7 E Maj7 E ndash7 E ndash7D Cndash7 F7 B

I3 V7IV IVMaj7 IVndash7 IVndash7 7 IIndash7 V7 I

Fig 1119 Line clicheacute with passing sevenths in the bass

3 3 3 3 3

110

Short passing notes against a single chord may be used in the same spirit as a full lineclicheacute The reharmonized example below uses stepwise passing sevenths in the bass toincrease the sense of movement within the chord progression

The example below is reharmonized with passing sevenths in the bass Notice that achord in root position always precedes a chord voiced over its seventh

line clicheacutes

B Gndash7 Cndash7 F7 B Gndash7 Cndash7 F7

I VIndash7 IIndash7 V7 I VIndash7 IIndash7 V7

3 3 3 3 3

B B 7 E Maj7 E ndash7 Cndash7 F7 B

I V7IV IVMaj7 IVndash7 IIndash7 V7 I

Fig 1118 Original form

3 3 3 3 3

B Gndash7 Cndash7 CndashB CndashA B Gndash7 Cndash7 F7

I VIndash7 IIndash7 IIndash 7 IIndash6 I VIndash7 IIndash7 V7IIndash7 sustained for two beats in root position thenembellished with a line clicheacute on beats 3 and 4

3 3 3 3 3

B B 7 E Maj7 E D E D Cndash7 F7 B

I V7IV IVMaj7 IV7 IV 7 IIndash7 V7 I

Fig 1117 Line clicheacute based on IIndash7 and IVMaj7

3 3 3 3 3

IVMaj7 embellished with a line clichegrave The bass line moves on beats 1 and 2then slows to a single bass note lasting through beats 3 and 4

Here is a different example