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By Jean Marc Belkadi. Just about every guitar player in the
world knows how to play the simple, three-note C chord in
Ex. 1. But far fewer guitarists realize that because this triad’s
root, 3, and 5 (C, E, and G, respectively) all reside within
the same octave, it’s a perfect example of close harmony.
Why is this little fact even worth knowing? Because, if you
understand close harmony, then you’re one step closer to
understanding open harmony, the use of which will allow you
to create some uniquely tantalizing chords, riffs, and textures.
...The real fun with open triads begins when you plug them
into chord progressions and arpeggiate them... Read
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 theones you already know. And here's three
you definitely want to 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 --
Full article
Guitar Player Chops builder Column by Jean Marc Belkadi
Perfect Fourths are easy to find on the guitar. Just strum
the open strings in standard tuning and you’ll hear several
fourths. Perfect fifths, too, aren’t hard to spot. Bang on
an open-position E chord, and you’ll find one between
the two lowest strings. Ironically, though these simple
intervals sound cool and are right at our fingertips, few
guitarists know how to incorporate them into their solos.
Guitar Player article
Guitar Player Session Column featuring: Jean Marc Belkadi
The next time you're looking for a way to juice up your
blues line, try this: Pick a blues scale, and then combine
it with the blues scale located a minor third (three frets)
below. As you’ll see, this composite blues scale can be
used in several ways.... Let’s begin with a regular
C blues scale (C, Eb, F, Gb, G, Bb, or 1, b3, 4, b5, 5, b7).
Dipping a minor third below gives us an A blues scale
(A, C, D, Eb, E, G). Now if we absorb the A blues scale...
Old Dog, New Tricks
Chordal Kung Fu
By Jean-Marc Belkadi, Jude Gold | Guitar Player magazine
Fatten Up Your Lead Licks by Learning the Lost Art of Soloing With Chords
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 GP 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?... Read
As a guitar instructor at GIT in Hollywood, California,
I’m thrilled to report an exciting trend: Young guitar students
are increasingly into playing again. That’s not to imply there
weren’t still throngs of kids hungry to learn adventurous guitar
styles during the height of the grunge, nü-metal, and pop punk
eras, three arguably uninventive, creativity-stifling periods in
guitar’s recent history. It’s just that lately, well, lead guitar seems
to be experiencing a resurgence, as it has once again captured
the imaginations of up-and-coming guitarists everywhere...
Full article
Spank How to Slap, Pop, Yank, and Smack Magical
New Sounds out of Your Favorite Guitar
Okay, guitarslingers, enough’s enough. For decades, funk bassists
have been having heaps of fun with this whole “slap/pop” thing,
and we guitarists—a typically me-oriented bunch not known
for being generous with the spotlight have, for some inexplicable
reason, politely let our four-stringed brethren have this flashy
style all to themselves.
Well, it’s time we finally grabbed a fat slice of the slap/pop pie,
especially because a slapped guitar yields astonishingly cool
textures that bassists simply can’t match ...
Article in Guitar Player by Jude Gold
Jean-Marc Belkadi's Polytonal Plectrum Pyrotechnics"
The polytonal and bi-tonal licks I’m going to show you are
directly inspired by listening to pianists such as Chick Corea
and Herbie Hancock, as well as saxophone players like
Michael Brecker and Joe Henderson,”says Belkadi...
...The examples Belkadi shares can be used in rock, jazz,
fusion, even shred metal, and they all have a cool, modern
sound. And, thanks to sweep technique, they can each be
played quite fast... More
here written by Jude Gold.
Jude Gold references to my book "Slap & PopTechnique for Guitar" in the Spank article below.
Bustin Out! By Jean Marc Belkadi
The Top 12 Coolest Ways to Play Outside Licks
Extreme Guitar Sweeping
Opening Up to Open Triads
Blue Moves by Jean Marc Belkadi
Fourths, Fifths, Flash
Scales are the building blocks of nearly all melodic
improvised lines, yet simply climbing up and down
a favorite scale is a foolproof recipe for creating
lines that are as enticing as leftover scrambled eggs.
So how can we make scale-base lines and licks sound
personal and unique? One simple, yet powerful way
to give scales a fresh spin is with octave displacement.
Here’s the concept: Simply play the notes of any given
scale in ascending or descending order, but shift a few
of the notes up or down an octave from their normal
placement..... Read
The Composite Blues
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Guitar Lesson from anywhere in the world!
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