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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: Comping for Other Musicians

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This page contains a transcription of a video lesson from Fingerstyle Jazz with Martin Taylor . This is only a preview of what you get when you take Fingerstyle Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

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I've now shown you the, the walking
bassline and comping.
Now, obviously, when you're playing in a
solo situation or
if you're the, the main accompanist,
maybe you're working with another guitar
player you're, you're gonna use the bass.
You're gonna do the walking bassline.
When you play with a group,
when you've got a bass player, that's the
bass player's, player's job.
So, everything, all the same things apply.
The only thing you do is you don't play
the bass.
Don't step on his toes.
So instead of you playing the bass.
You don't have to do that.
In fact, don't do that, because he's doing
That's the bass player's job.
So you, you just do the comping.
Those inner voicings.
That's all you need to do because the bass
player's doing this.
Without the base player, you just play
this brings us into another area that's
really interesting.
It's always, it's something, I'm asked a
lot by guitar players.
They say, I have a problem when I'm
playing with a piano player because,
harmonically, we clash with each other.
Now, provided you and the piano player are
playing the same chords,
it doesn't matter really what inversion,
inversions you use.
If you really stick to this kind of
It doesn't matter what inversions and
add-ons the, the piano player's gonna do
cannot clash because you are playing the
very basic harmonies of this.
If you play like a, a four on the bar, a
Freddie Green type rhythm.
Just stick to those inner notes.
Whatever the piano player's playing, you
cannot clash.
The piano
player can play all kind of added
inversions and, and things.
It won't aff,
won't have any effect because these are
the basic notes within the chord.
You're, you're, you're steering clear of
the bass note, the root note,
because the bass player is doing that.
So you're, you're not getting in the way
of the bass player and
this way you're not getting in the way of
the piano player, too.
So you can be in this little safe
territory here when
you're playing in a piano bass drum's
rhythm section.
The only thing that can trip things up is,
is rhythmically.
If you
you, you can, you can clash that way.
But one of the most important things about
playing music is listening.
Alway, when you're playing, you must
always keep your ears open as well.
Always hear what's going on.
It's no good just kind of getting your
head down and, and playing when you're
with other people.
You gotta hear what's going on because
it's a, it's a, it's a group effort.
It's it's communicating with each other,
but that should work.
In fact, it does work.
Just play these, these kind of,
inversions with the piano, and it will not
clash, cannot clash.
Stay out the piano player's way.
But when you're on your own, you can.
You can do the whole thing.
You're the man.
Now these two note clusters that I'm
playing here, they're our old friends,
the tenth and the seventh in here.
Now, it doesn't matter what finger, finger
I use here.
Remember I was talking about that right
from the beginning.
Don't think of that, just think of the
It doesn't matter.
It's not like you're having to learn lots
of different shapes.
You're not having to learn lots of
different shapes.
Not new, you're not learning any new stuff
You already know this.
It's not like, now.
I'm not showing you half a dozen
more chord shapes now.
I'm just showing you
that's the notes.
Use whichever fingers you like.
>> Teach the world.