Definition
The line cliché is a chromatic (or diatonic) inner-voice line that moves while the rest of the chord stays still. The "underlying" harmony is a single chord (or two), but the color changes at every step. It is called a "cliché" because it is a standard pattern of American songwriting and jazz.
Descending minor line cliché
Over Am: the root descends A – G# – G – F#.
| Chord | Notes | Moving voice |
|---|---|---|
| Am | A C E | A |
| Am(maj7) | A C E G# | G# |
| Am7 | A C E G | G |
| Am6 | A C E F# | F# |
It often continues to F (Fmaj7) or to D9 (the F# becomes the third of D).
Ascending minor line cliché (on the fifth)
Over Em: B – C – C# – C (5 – b6 – 6 – b6).
- Em – Em(b6) (= C/E) – Em6 – Em(b6)
It is the heart of the famous figure of the James Bond Theme (Monty Norman, arranged by John Barry): the line B – C – C# – C over E minor.
Major line cliché
- Descending on the root: C – Cmaj7 – C7 – C6 (C – B – Bb – A) toward F. Used by Something by the Beatles (George Harrison, 1969): C – Cmaj7 – C7 and then F.
- Ascending on the fifth: C – C+ – C6 – C7 (G – G# – A – Bb), or C – C+ – C6 – C+ (goes and returns). Typical of 1950s–60s intros and of swing.
Real examples
- My Funny Valentine (Rodgers & Hart, 1937, C minor): Cm – Cm(maj7) – Cm7 – Cm6: the most famous minor line cliché in the repertoire.
- Stairway to Heaven (Led Zeppelin, 1971): the intro in A minor makes the bass descend A – G# – G – F# – F under arpeggiated chords (Am, E+/G#, C/G, D/F#, Fmaj7).
- Something (Beatles): major line cliché in the verse and minor line cliché in the bridge (Am – Am(maj7) – Am7 – D9).
- James Bond Theme: 5 – b6 – 6 – b6 over Em.
How to write it
- The moving voice must be audible: put it in an exposed register or give it to a different instrument (strings, guitar, synth with a soft attack).
- The other voices stay still: no parallel movements that cover the line.
- Typical duration: one chord per bar or two per bar.
- In minor the line sounds "noir"; in major it sounds "romantic" or "vintage."
Use in modern production
- In lo-fi hip hop and neo-soul: a 2-bar loop with Am9 – Am(maj9) – Am9 – Am6/9 creates movement without changing chord.
- In pop: a bridge that repeats a minor line cliché builds tension toward the chorus.
- In film: slow line clichés in the strings (8–16 bars) for suspense scenes.
Exercise for the producer
- Pad on Dm for 4 bars.
- Add a second track (strings) with the line D – C# – C – B, one note per bar.
- Assign the names: Dm, Dm(maj7), Dm7, Dm6. Then continue with G7 → C.
- Redo it in major on F: F – Fmaj7 – F7 – F6 → Bb.
Related topics
Chromatic voice leading, augmented chords, pedal and ostinato, harmony for film music, slash chords and inversions in pop.