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Chordal Kung Fu by Jean Marc Belkadi
Guitar Player Article

“People light up when I play this stuff,” says GIT (Musicians Institute)
instructor and author
Jean-Marc Belkadi, describing the typical reaction
of students who hear him throw a blast of chords into the middle of one
of his solos. “I’m not talking about playing chord melody, where you’re
literally harmonizing a theme with various voicings. I’m talking about
using chords in your solos, improvisations, and lead guitar riffs totally
on the fly, whether you play blues, rock, R&B, or jazz.”

Sharing musical examples inspired by Wes Montgomery, Joe Pass,
George Benson, Pat Metheny, Kevin Eubanks, Grant Green, and several
other jazz legends,
Belkadi hopes this Master Class will help Guitar Player
readers gain insight into the under-documented art of soloing in two-,
three-, and even four-part harmony. “What is the logic behind these
techniques?”
Belkadi asks rhetorically. “Is there a system I can learn? How does it work?
Which chords can I use and why? What is the mentality being employed? Can I use my comping
skills within my solos? These are questions my students ask me all the time, and the answers are
often simpler than they expect.” Let the demystification begin.

Beefed-Up Blues

In the right hands, the blues scale never gets old. Some guitarists have built amazing careers
off its six notes (the root, b3, 4, b5, 5, and b7— or, for instance, G, Bb, C, Db, D, and F,
in the key of G). That said, if you like adventure, there are myriad ways to dress up your
workhorse blues-based leads in snazzy new colors. One way is to harmonize them with parallel
melodic motion. “This lick sounds impressive,” says
Belkadi, playing Ex. 1. “It sounds like a
bunch of hipster jazz chords, but if you listen closely, it’s really a simple blues lick in the top
voice that has been harmonized.”

The blues lick in question is the highest note of each chord. First, play the single-note melody
by itself. (It occurs almost entirely on the first string, dipping to the second only for the last
eighth-note of the first complete measure.) Then, add the harmony notes to each pitch. “You’ll
see I’ve simply built a 13 chord below each note,” details
Belkadi. “Except for the last grip
in bar 1, it’s the same fingering each time. This parallel harmony gives the line a totally
different emotion than it would have by itself, and there are several other chordal approaches
you can try. For instance, you can get an extremely cool Wayne Shorter-type sound by applying
suspended harmonies below a C blues lick, like this [Ex. 2].”

If you like that entrancing quartal sound, be sure to play through Ex. 3, in which Belkadi shows
you how to expand on the parallel-motion approach by harmonizing nearly every melody note
with two different chords. “This is another Wayne Shorter thing,” shares
Belkadi, “though it is
probably also inspired by Joe Diorio and Ted Greene. These colors work beautifully in a C minor
blues tonality, and have a very full yet completely open sound.”

Completing our arsenal of blues scale harmonization approaches is Ex. 4, which demonstrates
how put meat on the bones of a single-note blues line using beefy dominant chords. “The concept
is easy once you get it,” encourages
Belkadi. “Alternating Bb and A 9 and 13 voicings fatten up
your descent down the A blues scale.”

Chromatic Tactics

A simple way to add chromatic notes to an ordinary progression is to squeeze chromatic neighbor
tones between each chord [Ex. 5]. “But I also take a lot of inspiration from McCoy Tyner and
other pianists,” shares Belkadi. “This is a total Herbie Hancock thing [Ex.6]. Let the open
A string ring and play the rising voicings over the top. The hammer-on/ pull-off in each chord adds
a nice flourish. Or, if you want to end this type of lick on a comfortable G7 blues maneuver
that every guitarist knows, try this [Ex. 7]. Barre the chords with your 3rd finger, perform the
single-note slides with your 1st.”

ModALLY AWESOME

Just as a huge frozen pond is a great place to learn to ice skate, modal jams —grooves based
primarily on one scale or tonality—are great musical environments in which to test your knack
for soloing with chords. The first modal approach is to stay within the given scale. For instance,
in the key of A minor (or its relative major, C) there is no limit to the number of intriguing chords
you can come up with, as proves Ex. 8. In this phrase, you’ll see several open-voiced grips that
remain diatonic to (that is, use only notes from) the C major/A natural minor scale.

“You can also build chordal lines from less common scales,” adds Belkadi, proving his point with
Ex. 9, which houses an enchanting group of F harmonic minor clusters. (Tip: This maneuver is
tailor-made for the Ellington/Mills/Tizol classic “Caravan.”) “Or, check out E Phrygian [Ex. 10].
Let the low-E string ring throughout so your ears stay rooted in that Phrygian sound, or you may
hear these harmonies in the key of C major, which is made up of the same seven notes.”

Them Changes

Of course, chordal stabs can also work brilliantly in music with a set pattern of chord changes,
which is why typical II-V-I progressions— pivotal cadences in many jazz, pop, and soul
songs—offer a great place to get started in this practice. Ex. 11 would be a standard II-V-I
in the key of D major—if it hadn’t been modded by Belkadi. “Here, we’re not just playing neighbor
notes,” observes Belkadi. “We’re surrounding the Em7 and A13 grips with neighbor chords chromatic
approach voicings—making the journey to the resolution chord, D6/9, an exciting one. Or, try a less
chromatic II-V maneuver using an altered dominant [G7#5] chord as our V [Ex. 12].”
by Jude Gold
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