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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
Video Exchange Archive
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Fingerstyle Guitar Lessons: The Fair Haired Child - Breakdown

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Okay, so that's one of my compositions.
It's called The Fair Haired Child, and
it's one of the movements from
my new suite, orchestral suite, it sounds
very grand.
The Spirit of Django Orchestral Suite that
I recently performed
with the Royal Liverpool Philharmonic
And basically I played pretty much what I
played here.
But on top of that we had the whole
orchestra of strings and
harp to play on top of that as well.
So here's the, the, the guitar, guitar
version for you.
Now, you'll find that we have a tabbed
version of this solo in its,
in its entirety.
But we also have a lead sheet, which just
has the the melody and the chords as well.
Now, there's a very good reason for that,
because you can look at the tab and
see the solo.
And very often with tab, because it's,
it's such a good thing to have for us
guitar players.
So we get, we can see when we hear a solo
that we want to learn,
we can see exactly where the guitar player
put their fingers.
Rather, you know, the, the, the, the
But sometimes we can get too caught up in
that thinking.
It's gotta be played this way and
sometimes there's been tab tabs of some of
my, my pieces of music.
And then somebody sees me play and they
think I've changed something around.
But I, sometimes use, I sometimes change
it around.
It's all to do with notes.
Actually, to think notes rather than to
think fingers.
So it, it isn't so important, the, the
finger, the fingering that you use.
The important thing are the notes.
So but, this way you, you've got
You've got the, you've got the notation of
the, the melody.
You've got the chords, which is like our,
our guide there.
And we also have the, the tab, where you
can see exactly what I play.
But you know, this, this isn't written in
This is really a guide for you, so if you
play this,
this piece of music it, it's really a
guide for you to do something else.
You may wish to play some of these notes
in different positions or
play different fingerings so don't really
get too tied up on, on the tab.
It's a great thing but it, it's not
written in, in tablets of stone.
It's, it's there, you can in, interpret
So, what I want to do here is to break
this down into its, its components.
First of all, let's take the melody.
Now, remember this not to get
caught up with the positions that I'm
playing or the fingering that I'm playing.
Just the notes so, I mean, the opening
I could play it.
Or, I could play it here.
It doesn't, it doesn't matter.
I'm only playing this in this particular
position so
that you can hear the melody and how, how
the melody goes and how it's phrased.
So this is how the melody goes and you've
got the, the PDF to, to follow with this.
So this is, this is
the first component,
the melody.
Then we repeat that part,
except just at the end, it has a slightly
different melody.
Here we go again.
See, I played a different fingering there.
It doesn't matter.
And the second time the melody is
slightly different.
So that's our two A sections.
We come to the B section, the middle part.
And then we come back to the, the A
section again.
It changes here.
So it's made up of that classic A, A,
B, A formula.