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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