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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: Polka Dots and Moonbeams

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going to play a tune now called Polka Dots
and Moonbeams and
what I'm going to do with this, with this
I'm gonna set the whole kind of mood of
the, the tune at the very beginning.
There's something I heard, and I think it
was a classical piece of music.
I think it was Debussy.
Have the, Debussy's harmonic sense is just
absolutely wonderful,
and he's a composer that I suggest you
listen to, particularly if you're,
if you're interpreting ballads and more
romantic pieces, because you can learn an,
an unbelievable amount from listening to a
composer like Debussy.
But I think, it, it was something like
That kind of movement.
Which, which, which I've al, always liked.
So I'm gonna play something, something
like that.
What's what I'm really going to, to really
try and
demonstrate on this is the idea of playing
in time.
When I actually come to, to playing in
I'm not actually gonna play four in the
I'm not gonna play.
I'm not actually gonna,
I'm not actually gonna play that.
I'm gonna suggest it, and the way I, the
way I suggest that,
first of all is setting up the, the tune
the way I phrase it.
Instead of just playing th, those notes,
but play the,
the first part of the melody in time and,
very rhythmically and that should set up
the f, the feel and
the mood and you should be able to just
feel the time.
Then a lot of the accompanying I'm gonna
be doing here,
the, the chords based on tenths as we,
we've been doing before.
A lot of that would just be like you can
imagine the left hand comping on a piano
when a jazz piano player plays so I'm not
actually gonna really be playing time.
I'm just gonna be suggesting the time with
these little rhythmic comps and
stabs that would be on the left hand of
the piano.
I'm also gonna use some, some of the
expressive techniques
that I've been showing you of, of
hammer-ons and pull-offs.
Something probably that didn't, didn't go
into before,
something like trills as well, this kind
of thing.
I'm also going to play this in a key.
Normally, I think this is in the key of F,
but I'm, I'm going to play it in the key
of D because I want to use some of the
open strings to play the melody.
It makes things a lot easier.
Make's it very guitaristic, when you,
when you play, when you play in, in keys
like this.
So, you can incorporate stop notes with
open notes.
And it, one of the things that that does,
it then has a very kind of harp like
So when we're playing something like this
that is essentially quite a romantic
sounding piece of music it has a kind of
harp-like quality.
And almost like a, a, like a waterfall
kind, kind of sound.
So I'm gonna play this an incorporating a
lot of these these techniques and
this is Polka Dots and Moonbeams.
>> Teach the world.