Guitar Player Magazine Extreme Sweeping Polytonal Plectrum Pyrotechnics. "The polytonal and bi-tonal licks JMB is 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”
Jean-Marc Belkadi has, as he's done with so many guitar approaches, refined dozens of cool ways to use pentatonics. One thing he likes his students to explore is stringskipping lines such as Ex. 12. And, as shown in Ex. 13, Belkadi often handles string skips the smart convenient, “hybrid” way by plucking the higher string with the picking hand’s middle finger. Notice that this last example has a hemiolic three-against-four pick/ hammer/pluck downbeats), and it will retain its jagged unpredictable sound... by Guitar Journalist Jude Gold Pentatonic Pyrotechnics
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You don’t have to be an amateur guitarist to need guitar lessons. Even the pros like a good schoolin’ now and again. And if you’re a professional guitarist, singer, or actor in the Los Angeles area who’s fishing around for a guitar teacher, it probably won’t be long before someone refers you to Jean-Marc Belkadi. Like his mentor, the late, great guitar genius Ted Greene, Belkadi is quickly emerging as one of the most in demand and respected guitar instructors .. in Guitar Player Magazine
GP’s favorite prodigal son Jude Gold delivered this knowledge. “The easiest way to add zip to an ascending three-notes-per-string scale is to pick only the first note on each string and hammer the two that follow. The problem with this highly legato strategy, though, is that it results in a predictable and repetitive sound. Southern California guitar sensei Jean Marc Belkadi has noticed a clever way to liven things up without slowing youdown: Play every third picked note as the first note in an upward sweep of the pick that drops you back down three strings. When you finally reach the highest string (bar 2, middle of beat two), descend back down the scale as shown"
Cool Jean Marc Belkadi's Guitar Sessions for Commercials
Jean-Marc Belkadi Sharing musical examples inspired by Wes Montgomery, Joe Pass, George Benson, Pat Metheny, Kevin Eubanks, and several other jazz legends, Belkadi hopes this Master Class will help Guitar Players readers.
The Composite Blues Scale for Electric Guitar with 60 mp3 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 available on iTunes
@ The Marvin's Room with Michael Jackson's Producer Jon Nettlesbey
Offset tricks. You can play a composite blues scale over other chord types, too. The trick is knowing how to offset the scale root in relation to the chord root in relation to the chord root. (It can be tricky to work out these associations, so be patient and go slowly.) For Instance, over a minor 7th chord, play the composite scale located a fourth higher. To improvise over Dm7 (D-F-A-C or 1-b3-5-b7), for instance, you’d play a G composite blues scale (G, A, Bb, B, C, Db, D, E, F). Notice how, in addition to Dm7’s chord tones, the G composite blues scale offers G, Bb, B, Db, and E. If you relate these notes to Dm7, you get the 4 (G), #5 (Bb or A#), 6 (B), 7 (Db or C#), and 9 (E). EX.4 is a G composite blues line played against Dm7. Guitar Player article here