Jean Marc Belkadi

TECHNIQUE EXERCISES FOR GUITAR, Lessons and Licks for Improving Your Speed, Power & Clarity. Mus. Inst. Jean Marc Belkadi. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA TABLATURE. 

TECNICA, VELOCITà, 

Lessons and Licks for Improving Your Speed, Power & Clarity
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Medium: Softcover with CD
Author: Jean Marc Belkadi

Hone your precision, endurance, dexterity, and synchronization skills with loads of interesting exercises to learn and practice. The accompanying CD contains 81 demonstration tracks of all the exercises in the book. 40 pages.

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR, Jean Marc Belkadi. Mus. Inst. 50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

SHEET MUSIC BOOK CD WITH GUITAR TABLATURE.

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Jazz-Rock Triad Improvising for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

In this “private lesson,” MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.

Inventory #HL 00695361
ISBN: 9780634001581
UPC: 073999953619
Width: 9.0"
Length: 12.0"
24 pages

PRIVATE LESSONS

JAZZ-ROCK TRIAD IMPROVISING for Guitar
50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases.

- CD Includes 50 Full-Band Tracks
- Modal and Tonal Usage
- Triad Substitution and Superimposition Techniques
- Standard Notation and Tablature

ISBN 0-634-00158-2

Introduction
In contemporary music, the use of triads is an important element in improvisation and composition.
They are as prevalent as scales, modes, arpeggios, rhythms, and intervallic ideas.
Like scales and modes, triads can be substituted in tonal and modal music. They can also be
superimposed, creating bitonality or polytonality. Superimposed triads give us synthetic scales
such as hexatonic (6 note scales = 2 triads), or nonatonic scales (9 note scales = 3 triads).
What Is a Triad?
A triad is a three-note chord made up of a root, third, and fifth. There are four triad families:
Major triad: 1-3-5
Minor triad: 1-b3-5
Diminished triad: 1-b3-b5
Augmented tri ad: 1-3-# 5
Of course, in everyday applications triads are played with different inversions:
Root position
1-3-5

Inversion possibilities
3-5-1, 5-1-3, 3-1-5, etc.

Sometimes triads are played with one degree dispersed an octave higher:

regular triads
open triads

This dispersement procedure creates what is referred to as an open triad, and can be applied
to minor, diminished, and augmented triads, as well as major.

Triad Substitution
Triad substitution is where one triad is substituted in place of another. One of the most common
is flat-five-or tri-tone substitution. This is when a triad a flat-fifth degree (tri-tone) away is
substituted for a chord. For example: instead of playing a G major triad over a G7 chord, a Db
major triad (Db is a flat-fifth away from G) is "substituted."

Triad Superimposition
Triad superimposition is where two or more triads are played one after the other, creating a
"dispersed scale" effect of bitonality or polytonality. Of course all triads can be substituted or superimposed
in both tonal and modal music, either using the single-note approach or voiced in chord form.
 

About this Book
The purpose of this book is to help you to create your own ideas using triad concepts. It is
divided into two parts: tonal music (II-V-I chord progressions, Chapters 1 and 2) and modal
music (Chapters 3 and 4). Keep in mind that the examples do not follow a specific order
of difficulty; you can jump in anywhere and work with the licks you like best. You also might want
to listen to the CD first to locate the examples that appeal to you the most.

About the Audio
Throughout this book, the numbers in the audio symbols (+) indicate the CD track number
where each example will be found on the accompanying CD.
Each example is played at full tempo, and most are repeated at half speed. In addition, short
introductory phrases (which are not transcribed in the examples) are sometimes included to provide
a better sense of context and to maintain an improvisational feel.

Acknowledgments
I wish to give special thanks to Marie-Christine Belkadi, Kevin Holmes for editing assistance, all at Hal Leonard Corporation, Frank Gambale and Mike Stern for their support, Keith Wyatt from Musicians Institution, Steve Blutcher from DiMarzio, HHHrrernst Homeyer for his good advice, Marco Biasella and Pierre Pichon for letting me use their equipment, Alain Lasseube-Le frere
Gagarine, Olivier Hermitant for his friendship, and Chris Jero of Yamaha.
This book is dedicated to my dear Grandma, Georgette Bach.

About the Author
Jean-Marc Belkadi started playing guitar at age 14. He graduated from the Toulouse Music
Conservatory in his hometown. In 1984, he left France for the U.S. to study at Musicians
Institute in Los Angeles where he received the Best Guitarist of the Year award.
In 1989 and 1992, he was awarded third and second prize at the Billboard Song Contest.
For three years, he was musical director of the Johnny Hune TV show. He has written three guitar
method books-A Modern Approach to Jazz, Rock, & Fusion Guitar, The Diminished Scale for
Guitar, and Advanced Scale Concepts and Licks for Guitar-and has recorded one solo album.

Table of Contents
About this Book
About the Audio
Introduction

Chapter 1: Substitution and Superimposition Techniques in Tonal Music
Major Key II-V-I Progressions Using Substitution 
Major Key II-V-I Progressions Using Superimposition 
Minor Key II-V-I Progressions Using Substitution 
Minor Key II-V-I Progressions Using Superimposition 
Major Key IImi7b5-V-1 Progressions Using Substitution 
Major Key IImin5-V-1 Progressions Using Superimposition 
Major Key 117-V-1Progressions Using Substitution 
Major Key 117-V-1Progressions Using Superimposition 

Chapter 2: Open Triad Techniques in Tonal Music
Major Key II-V-I Progression Using Open Triads .
Minor Key II-V-I Progression Using Open Triads 
Major Key Ilmi7b5-V-1 Progression Using Open Triads 
Major Key II7-V-1Progression Using Open Triads 

Chapter 3: Substitution and Superimposition Techniques in Modal Music
Ma7 Chord Examples 
Ma7#11 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples
Dominant7 Chord Examples 

Chapter 4: Open Triad Techniques in Modal Music
Ma7 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples 
Mi6 Chord Examples 
Dominant7 and Altered Dominant7 Chord Examples 
Acknowledgments
About the Author
Guitar Notation Legend
Note: Track to tune up.
 

EXOTIC SCALES & LICKS FOR GUITAR, MUSICIANS INSTITUTE, Belkadi. CD TABLATURE

LIBRO DI SPARTITI PER CHITARRA CON CD E TABLATURE. 

16 Tantalizing Scales & 80 Great Ways to Use Them
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Author: Jean Marc Belkadi

Expand your lead lines and scalar vocabulary with a whole book packed full of unusual scales and interesting ways to play them. The accompanying CD contains 80 demonstration tracks of all the licks in the book. Scales include: Prometheus, enigmatic, Hebrew, Hungarian Gypsy, Hindu, Neapolitan Major, Neapolitan Minor, East Indian, Romanian, double harmonic minor, Persian, double augmented, 8-Tone Spanish, Byzantine, overtone, harmonic major, and more. 40 pages

EXOTIC SCALES & LICKS

16 TANTALIZING SCALES
80 GREAT WAYS TO USE THEM

Introduction
The exotic scales in this book can be thought of as scales that are not related to the standard major or minor scales. Most of them have seven notes, but a few have more or less. They provide an excellent source for technical improvisation/composition and work in many styles, such as rock, jazz, funk, pop, and R&B.
This book contains a total of 80 examples (five for each exotic scale), and its purpose is to show you how to use these scales in any chord combination from the harmonized scale. Each exotic scale is harmonized with its respective chord on each scale degree, giving you a better understanding of the scale's sound and its possible harmonies.
The examples are recorded over grooves featuring a full rhythm section, so you'll have a good overview of how to use the scales in your own music. Each example is repeated at tempo a few times, after which it's played very slowly so you can hear each and every note. The licks don't progress in any particular order, so feel free to skip around to the ones you like. Enjoy. Jean-Marc

Thanks to:
All at Hal Leonard Corporation
Ernesto Homeyer (for transcribing these examples)
Danny Osuma (for mastering the audio recording)
Beth Marlis, from Musicians Institute
Steve Blucher, from Dimarzio
Joseph lacobellis, from Everly Strings
Jude Gold, from Guitar Player

Table of Contents:

Prometheus Scale
Enigmatic Scale
Hebrew Scale (Ahavoh Rabboh)
Hungarian Gypsy Minor Scale
Hindu Scale
Neapolitan Major Scale
Neapolitan Minor Scale
East Indian Scale (Raga Todi)
Romanian Scale
Double Harmonic Minor Scale
Persian Scale
Double Augmented Scale
Eight-Tone Spanish Scale
Byzantine Scale
Overtone Scale
Harmonic Major Scale

SCALES:
Prometheus
Enigmatic
Hebrew
Hungarian Gypsy Minor
Hindu
Neapolitan Major
Neapolitan Minor
East Indian
Romanian
Double Harmonic Minor
Persian
Double Augmented
Eight-Tone Spanish
Byzantine
Overtone
Harmonic Major
Many Licksin Different Styles
Scale Spellings & Harmonizations
Standard Notation and Tablature

Expand your lead lines and scalar vocabulary with a whole book packed full of unusual scales and interesting ways to play them. The accompanying CD contains 80 demonstration tracks of all the licks in the book.
 

SLAP & POP TECHNIQUE FOR GUITAR. 52 LICKS AND LESSONS Musicians Institute. Jean Marc Belkadi. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO METODO PER CHITARRA, CON CD :

ACCORDI, PENTAGRAMMA, TABLATURE .

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Composer: Jean Marc Belkadi

This one-on-one lesson with MI instructor Jean Marc Belkadi applies the slap bass techniques popularized by Louis Johnson, Marcus Miller, Victor Wooten and others to the guitar. Covers basic slap and pop techniques in funk, rock, R&B, Latin and reggae styles. The book includes standard notation and tab, and the accompanying CD features 52 full-band demo tracks. 24 pages .

Introduction

The purpose of this book is to provide a fresh perspective on the subject of funk guitar. For years, I played funk the way most guitarist do-with a pick. This sound is certainly a staple of funk music and a must-learn for all serious funk guitarists. After becoming increasingly interested in funk bass players and the techniques they used, however, I began experimenting with slap and pop techniques (commonly used with bass) in my guitar playing. Influenced by players such as Louis Johnson, Yanic Top, Marcus Miller, Stanley Clarke, Victor Wooten, and Kevin Eubanks, I began imitating the sounds I heard from them on my guitar. Years later, I've found that, although funk is an obvious choice, this technique can be applied to many styles. Throughout this book, we'll also see it applied to R&B, Motown, Reggae, and Latin styles. We'll also cover odd meters and straight-ahead funk-rock grooves. When it's all done, you'll have a new vocabulary of techniques to incorporate into your own playing.

Technical Performance Notes

In order to best digest the information in this book, it's probably necessary to discuss a few techniques

that aren't commonly found in guitar notation. Below is a list of abbreviations and explanations

that pertain to the musical figures found in this book. You may recognize many of these from

conventional bass notation.

T - Strike or "slap" the string with the right-hand thumb.

P - Snap or "pop" the string by pulling upwards with the index finger of your right hand and quickly

releasing it.

L - Slap the strings on the fretboard with your left-hand fingers laid flat, creating a muted percussive

effect.

I - Strum with your right-hand index finger (downstroke) as if it were a pick.

$- Hammer or "tap" the fret indicated with one of the fret-hand fingers.

F - Strum with the nail of your right-hand thumb (upstroke).

Though the "slap" technique is very familiar to most bass players, guitar players have usually not experimented

with this before. Try different positions along the string to ensure that you are not producing a

harmonic with your slap. Also, try to keep your right arm parallel to the strings.

About the Audio

Throughout this book, the numbers in the audio symbols ( • ) indicate the CD track number

where each figure will be found on the accompanying CD.

Table of the Contents:

Page CD Tracks

Introduction

Technical Performance Notes

About the Audio

Chapter 1:Funk Figures

Chapter 2:Funk-Rock Figures

Chapter 3:R&B and Motown Figures

Chapter 4:Latin and Reggae Figures

Chapter 5:Technical Exercises

Acknowledgments

About the Author

Note: Use Track 53 to tune up.