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Introduction To The Martin Taylor Guitar Academy
This "introduction" block sets the stage for what is to follow. Put down your guitar, and enjoy learning about Martin's background, influences, and philosophy about music and the guitar. If you are anxious to get going, you can skip ahead to the "Underlying Concepts" block or even "Learn By Playing Tunes" block. Just be sure to get back and watch these important videos!
Underlying Concepts
The "Underlying Concepts" block starts very basic and progressively lays down the foundation for Martin's approach to fingerstyle guitar. Even if you are already an advanced guitarist, Martin asks that you go through all of these lessons. This block ends with Martin teaching two versions of the jazz classic "Satin Doll."
Developing Technique & Musicianship
Here we switch almost entirely to music, musicianship, and advanced techniques for making music on the guitar. To get started right, Martin teaches a simple but soulful version of his own composition "True." Martin uses this tune as reference point throughout the curriculum. More techniques flow from Martin's presentation of jazz blues, "Somewhere Over The Rainbow", and "My Romance."
Learn By Playing Tunes
Watch, listen, play. It's all here: A progressive collection of tunes that represent every skill and technique Martin employs in his fingerstyle guitar playing. For many of these tunes, Martin provides a very detailed analysis of all of the techniques employed. All of the tunes are presented with alternate camera angles (you can see exactly what Martin sees using the "topview" camera angle), and slow-motion versions. Many of the tunes have downloadable notation PDF files, though Martin prefers you to use you eyes and ears rather than the notation which can become a "crutch" and inhibit progress.
Auxiliary Lessons
This is the place where material will be placed that relates to specific topics not covered in the core curriculum, such as accompanying a singer, gear, etc.
Guided Arrangements
30 Day Challenge
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Fingerstyle Guitar Lessons: Harmonizing the Major Scale and Chord Progressions

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Usually in,
in jazz, where, when we play a chord,
we're playing a seventh, so,
if we harmonize, a scale, so, a scale of
I would probably play here a major
seventh, that's L1.
L2 would be a minor seventh.
Three would be a minor seventh.
Four would be a major seventh.
Five is a seventh.
[SOUND] Here's a minor seventh.
[SOUND] Seventh is a minor, and [SOUND],
we have a major seventh there as well.
That's how I would, I would voice that.
And then I wouldn't necessarily play all
of the notes.
And I can also do things where I move
those around a little bit.
really think about the, where the, where
the seventh come in, comes in,
whether it's a minus seventh, dominant
seventh, major seventh.
Major seventh.
just want to say something very quickly
about 2, 5, 1.
Usually when we are playing 2,
5, 1 we think of the 2 as a minor.
So if in C the 2 would be D Minor,
5 would be at the 7.
And then the C major or sometimes a major
That's the major seventh sound.
Of course we can play it with the, the two
being just a seventh.
That kind of sound.
That's the major-
Or the minor.
when we play this scale we'll say with a C
major seventh, minor seventh,
minor, major seventh, seventh, minor
That's our scale there.
Something that very often confuses people
is that, is when say we're playing C.
But, don't actually,
there's not a C in there.
We're playing the inside voicings really.
So, say we have the C triad like that.
I can play
Just these two notes here,
a major seventh, sixth.
And I can play some of the other
notes here so very often we would actually
miss out the fifth of the chord because-
just maybe play the the seventh or the
tenth or the third.
So that's something to, to think about
when you play a chord, you don't have to
play all of the notes within that chord.
And you can change the inversions, you
Because the, the 10th is, is an inversion
of the, of the 3rd.
It we're just taking an, an Octave higher.
So we could have say a C.
maybe I'm not going to play the root C.
I might play a C here.
Or we can actually,
we can play it without playing the C at
That's implying, a C-major.
C major 7th.
So experiment with this when you're,
when you're playing a chord, a D minor.
[SOUND] See, I'm playing, that's implying
a D minor 7th.
I'm not playing a D.
[SOUND] There it is there, but not,
there's no, at no point am I playing a D.
[SOUND] That can imply a D, a D minor.
I'm not playing the root at all anywhere
That's very handy to know as well when
you're gonna be working with
other musicians as well with a bass player
who's gonna be playing,
gonna be putting the bottom end in there.
Or the, the, the root notes and when
you're working with another chord
instrument another guitarist, piano or any
other keyboard instrument.
You can sometimes get away with just
playing a few notes within that
chord family.
Not playing everything.
And not necessarily playing the root note
at all.