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|Blue Moves by Jean Marc Belkadi
|More Instructional book / CD sets - Jean Marc Belkadi Musicians Institute Press/ Hal Leonard
There’s something magical about blues turnarounds. They mark -- with
great satisfaction -- the harmonic climax of the 12-bar cycle, whether they’re
opening or closing a tune. So why do most guitarists only bother to learn a
small handful of them? Truth is, you can crack open a treasure chest of hip
turnarounds by simply spending a few moments experimenting with the ones
you already know.
The saucy G7 maneuver in EX.1, for instance, wouldn’t be anything out of
the ordinary. If, that is, it was played by Ray Charles on a Rhodes keyboard.
Guitarists, however, often simplify this type of turnaround by leaving out
the middle voice. But that middle voice -- the chromatic D-Db-C-B descent
on the third string- creates a burst of harmony that adds a new dimension to
this otherwise generic lick.
Now, without adding another voice, try further refreshing this turnaround
by dropping the root, G, an octave, so that it lies between the other 2 voices.
This yields such rich sounding cadences as Example 2a and 2b. Remember,
when using either of these turnarounds to close a tune, tack on a meaty
bII-I shift at the end- like the Ab7-G9 move we learned in the first example
for added finality.
Another way to breathe new life into old turnarounds is to use your
1st finger as a capo to create virtual “open” strings, as in EX.3. This lick is
usually played three frets down in the key of E, with the first string ringing
open while the minor thirds descend chromatically on the second and third
strings. Here, in the key of G, we create the same effect by barring the strings
at the 3rd fret and letting the first string drone throughout.
Moving up to the key of A, we see in EX.4 that by simply adding an octave,
a turnaround can sound fuller- as proven by the parallel octaves that occur
on the second and fifth strings during the last three beats of bar 1.
For an especially climatic closer, try EX.5 which employs the always ear-
catching, Bach-approved contrapuntal approach known as contrary motion.
It happens throughout this riff as two chromatic lines move in opposite
directions. For extra impact, slap a spicy A13#9 chord on the end.
Finally, for that wide-load sound, try exploring a fat, four-fingered closer
such as EX.6 --the Mack truck of blues turnarounds. It features the tonic,
A, pedaling on the second and fourth strings throughout most of bar 1,
while the other two voices drop chromatically. Notice that the F7-E7 shift
at the end features jazzier, more inventive voice-leading than is typical of
many blues riffs. The progression may be slightly trickier to play in this
manner, but, as is the case with all of the examples in this lesson, your ears
will appreciate your fingers’ extra efforts. Check the Blue Moves Exercises
|The Composite Blues Scale for Electric Guitar / 60 mp3
by Jean Marc Belkadi
The concept is to help you play more efficiently
the composite blues scale over the dominant
major, minor 7th and minor 7th b5 chords
This is a necessary book to improve your blues
vocabulary by understanding the connection
between the chromaticism and the blues scale
in different music styles: Jazz, Rock, Funk
Fusion, Pop & Latin
The eBook is on iTunes