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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: Improvisation Part 12: Melodic Improvisation Single String 3-6-2-5 Part 1

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now we're going to extend from the two,
five sequence.
We're going to do an extended version of
that which is three, six, two, five.
So two two, five, one was.
G minus seventh, G seventh C.
Three, six, two five would be in the same
key, would be E-minor.
A seventh, D-minor.
G seventh.
You've heard this a million times.
It's just an extension from the,
that's a two, five, one.
This is what we're gonna work on here.
all the same things apply with this.
So we can do E-minor with, with st, with a
targeting the, the the first.
And with, with the third we have.
That's the kind of sound we have.
And of course when we're improvising
we're, we're mixing,
we're gonna be mixing this all up.
And that's with, with the fifth.
And we're gonna target notes there and we
can embellish those.
And then also the same thing,
we can bring in chromatics glue that puts
it all together.
We can find out little pentatonic wherever
we can if you want
to put a little bluesy thing in.
And we can start playing it, we can start
taking it a little further out so
lets get the the rhythm track going and
I'll start playing along.
With pretty basic.
I'm gonna start off very, very, very basic
with this.
Again, little corny.
This is tar, target, target in the third.
put a little chromatic in there, as well.
Thirds with chromatics are good.
Do you hear that?
So, if we start phrasing it now.
We put some kind of jazz phrasing in
I have some nice space as well here and
Don't play like, really long lines.
Just start phrasing it.
Little phrases.
One, two, three, four.
What I'm doing most of the time here
is I'm, I'm using the third as my target
and putting some chromatics in there.
I'm also, I'm changing it around.
Sometimes I, I hit, I hit on the first or
the fifth or the seventh.
But most of the time that's what I'm doing
here, cuz it's a really nice sound for
this kind of turnaround.
One, two, three, four.
It's nice and easy.
It's very kind of mainstream jazz way of
of improvising.