Jean Marc Belkadi is published by
Hal Leonard  and Musicians Institute Press

The books/CD/Tabs are available @ Amazon. and Guitar Center
Premier Guitar Magazine   Interview: James Valentine (Maroon 5)
"Hands All Over" "I started to get together with a great teacher in LA
named Jean Marc Belkadi"

Premier Guitar Magazine   Building Chops: Left-Hand Strength and
Coordination JMB's "Legato Exercises for Increasing Left-Hand
Strength and Coordination"

Premier Guitar Magazine   Exotic Lines from a Turkish Mode by JMB

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
Click Contact if you want to schedule a Private
or Skype Guitar Lesson one on one  
from anywhere in the world!
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.
1  - A Modern Approach to Jazz, Rock & Fusion

2  - The
Diminished Scale for Guitar

3  -
Advanced Scale Concepts & Licks for Guitar

4  - Jazz-Rock
Triad Improvising for Guitar

5  - Slap &
Pop Technique for Guitar

6  -
Outside Guitar Licks

7  - Progressive
Tapping Licks

8  -
Classical Themes for Electric Guitar

9  - Ethnic
Rhythms for Electric Guitar

10-
Exotic Scales & Licks for Electric Guitar

11- Technique
Exercises for Guitar

12- The
Composite Blues Scale for Electric Guitar
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
Great Guitar Session
Sensei to the Stars:
Full article in  Guitar Player Magazine
Chordal Kung Fu
Guitar Instructor
JMB's on
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