Barry,

When you're discussing measures 15 and 16 (the Ebm7-Ab7-Dm7-G7), you discuss the desirability of sticking to the natural extensions on the Ab7 during this chromatic sequence. I'm wondering about the advisability of using or avoiding tritone subs for Ab7 and G7 in this. They're easy moves to make, and to me it sounds ok (and perhaps individual taste is the whole point), but do you think those are reasonable or do you think they detract from the clarity of the intended progression. I'm assuming that it's less critical when these tritones aren't the melody notes. Just looking for ways to vary the sound a bit during solos/comps.

I guess I could have been clearer. Instead of the Ebm9-Ab13-Dm9-G13 progression, going with Ebm9-D7#9-Dm9-Db7#9 moving from 4th position to 3rd on the fretboard, for example. I think we're on the same page.

Yes that would work, the chord scale relationship stuff would be exactly the same. The problem is the bass motion, repeating the D bass note weakens the chord progression. The key to keeping your comping interesting is the melody note in the top voice. -barry

Thanks! By the way, I was hoping you could re-visit the song Bolivia. You said your prior lesson on this didn't have the technical quality of your new videos. Also love the song Naima - maybe that's more suitable for chord melody. I fell in love with both of those on the Cedar Walton/Eastern Rebellion album way too long ago.