Modern Nashville Guitar

Hybrid picking, banjo rolls, chord leads, unison and more

Marty FriedmanTommy EmmanuelSteve VaiEric GalesEric Johnson

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Modern Nashville Guitar

About this course

Playing pro guitar in Nashville these days is the Olympic decathlon of the music biz. You gotta have big ears, impeccable chops, top-notch improvisational skills, stellar right and left hand techniques and be prepared to apply them all on a moments notice — and that's just to get in the door.

To further separate the men from the boys, you MUST be able to put it all in high gear over any style of rock, blues, jazz, country, acoustic, pop or combination thereof. And each new generation of Nashville guitarists steps the game up another level. Modern Nashville Guitar is both an insightful bird's eye view of today's game, and an extraordinary learning experience for any intermediate to advanced player, whatever your preferred style may be.

Your Nashville tour guide and mentor for this journey is Ladd Smith, a bonafide young master of the Nashville six string scene. Ladd won Guitar Player magazine's Guitar Hero 2007, which was judged by Joe Satriani, Steve Lukather, Nuno Bettencourt, Elliot Easton, Greg Howe, and Mike Varney (see the winning performance on TrueFire TV). Ladd is a monster player, veteran singer/songwriter, experienced performer and an extremely effective instructor.

"I am a visual, audile and kinesthetic learner and that's how I teach as well. It's much easier to watch, listen and play along to learn and internalize new information." Accordingly, Ladd steps you through Modern Nashville Guitar in a very cognitive fashion. You'll play your way through the course - no tedious notation, theory or exercises to work through. Each individual practice session invested in Modern Nashville Guitar will yield an epiphany or two along with a few new tricks of the trade you'll be anxious to pull out at the next gig, recording or jam session.

Clearly, the highlight of this course is the extensive series of "Outrun the Train" lessons, derived from Ladd's original composition of the same name (the instrumental version of which won the Guitar Hero competition). "The tune is an ideal instructional tool because it features a ton of my favorite licks. Therefore, we can cover a wide range of up-tempo "Tele-melee" material in an ear-friendly way with one common key, tempo and theme for ease of reference."

You'll also work through a variety of other grooves, likewise chosen to serve as a learning platform for other moves and techniques. Ladd covers the Nashville numbering system, provides gear overviews with each lesson, and drills down on dozens of key skills including hybrid picking, banjo rolls, chicken pickin', chord leads, butterfly hammer-on-pull-offs, unison and pedal-steel bends, train beats, open string pull-offs, vibrato, descending double-stop runs, triad pedal-steel guitar, sliding 4th interval licks and bends, arpeggiated rhythm, contrary-motion/counter-point lead lines, pedal steel licks, descending banjo effects, open string licks, behind-the-nut bends and whole tone licks.

Whether or not you aspire to be a Nashville player, Modern Nashville Guitar is one of those must-have courses because it's a virtually bottomless resource for any style player. There's enough solid instruction and grey matter herein to feed you for a lifetime.

What you'll learn

  • Navigate chord changes with appropriate licks
  • Play a complete advanced country instrumental showcasing multiple techniques
  • Create improvisational sections within structured framework
  • Use dissonant intervals musically
  • Incorporate pedal steel-style bends and licks
Release date: 09/11/2008 • 2h 43m runtime
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Sample lessons
Outrun The Train
Outrun The Train
Introduction
Outrun The Train
Outrun The Train
Intro Breakdown
Outrun The Train
Outrun The Train
1st Verse Breakdown Part 1
Outrun The Train
Outrun The Train
Chorus Breakdown Part 1

What's included

40 lessons • 15 charts • 7 Jam Tracks

Modern Nashville
"Welcome to Modern Nashville Guitar!

"Just play it for me!" -That's what I would always say when I was a kid and someone was trying to explain a certain song or lick or something musical in words. You may have felt like this a lot of times too, that's one reason I was so excited to work with TrueFire. Not only are they just some of the finest people on the planet (seriously), they really understand how natural learning works with their refined development of this video format. Even in the studio, this is how most of us here in Nashville work. We usually do not talk a lot about what we're going to do on a song as much as we make a basic outline of the keys, time signature, tempo & chord changes in the form of a Nashville Number Chart and we play the work tape for everyone and let everyone get the groove and feel of the song naturally and make notes. Then we may talk about any changes there are or ideas and sounds we may want to try.

Jerry Reed once said "I'm not as much of a 'Guitar Player' as I am a 'Guitar Thinker'." While I'm no Jerry Reed, I do feel the same way about my approach to the instrument, which often times finds me as more of a "Song Writer" rather than only a "Song Player" - To give you an idea of how I think and thereby will probably be communicating throughout the course; you should know that I personally am a Visual/Audial/Kinesthetic learner. In other words, it's much easier for me to get my guitar out, watch, listen and play along in order to learn and internalize the new information. I let my subconcious do all the hard work. It skips a lot of the mental drudgery (for me) of having to read pages of detailed text about notes, chords, scales or theory that I then have to go through the mental process of retranslating back into sounds and muscle-memory on my guitar. Therefore, most of these texts will be brief and will serve as a commentary for whatever points I am going over in that section. If you want to see what equipment (pickups, effects pedals, etc.) that I am using on a particular segment, I will usually include that in the text of the performance of that groove. I may also be tempted to talk in more detail about my musical philosophies, my approach to studio work, other guitarists you need to check out and other tips and tricks I've picked up over the years that I may have forgotten to mention during filming. I sincerely hope that all of this information comes across in a way that's interesting, insightful, humorous & exciting, as well as easy to understand and implement into your playing at home, on stage or in the studio. Thank You for being a part of Modern Nashville Guitar!"

Outrun The Train
This is a full length instrumental performance of "Outrun The Train" for your reference. This song has always been one of my most requested songs to play and sing, so when I needed to find an original song to perform live at Guitar Player Magazine's 'Guitar Hero 2007' Competition - an international electric guitar competition with the finals held in San Francisco, California in October of 2007, doing an instrumental version of "Outrun The Train" was a natural selection for me. I wrote "Outrun the Train" when I was 15 years old with the concept of writing an uptempo 'trainbeat' type song that told an ironic story. The true irony however was the fact that it was the instrumental version of this song that played the starring role in my first big break at GH07. The judges included guitar luminary Joe Satriani and L.A. studio legend Steve Lukather, among others. I felt very blessed to have been chosen by Editor-in-Chief Michael Mole and the staff of Guitar Player Magazine, to perform in the finals; I felt even more blessed and unworthy when they announced my name as the winner of the competition at the end of the night. I attribute that to the fact that this song allowed me the opportunity to showcase some of the most enjoyable things that I know how to play. With that said, this song also serves as a wonderful instructional tool because of the fact that a ton of my favorite country licks are already in this one performance. Therefore, we can get a lot of the uptempo 'Tele melee' stuff done in an ear-friendly way with one common key, tempo and theme for ease of reference.

I'm using the Seymour Duncan Five-Two bridge pickup on my G&L, a Keeley Compressor set to a 'hard knee' which means basically a lot of sustain with a short attack, Keeley modded Boss Bluesdriver BD-2 for some thick crunch (tweaked and more evident in the breakdown than in the performance), into the Keeley modded Line 6 DL4 using Slap-back 'analog delay' and then into the Mesa-Boogie Lonestar 1x12 tube amp at 30 watts.

Outrun The Train
In this breakdown of the intro to "Outrun The Train", I talk a little about my Albert Lee influence, the importance of 'Hybrid Picking'- using all of my fingers on my right hand with the flat pick or with a thumb pick. Many of us in the 'fingerstyle' world of playing took after Mr. Chet Atkins and use false fingernails put on by a manicurist or nail technician because we put our fingernails through such abuse plucking the strings. I do not like my nails very long and often times I don't like dealing with constantly filing down and reshaping the fake nails (although they really do sound cleaner and brighter) so I've found that I can take a Biotin vitamin supplement and it really strengthens my nails, like tremendously strengthens them without making them brittle. The 'Hybrid Picking' & 'Banjo Rolls' are so important to get into if you're going to move into the Country Tele world. It's something that I recommend spending as much time on as possible if you're not familiar with this style of playing. Also I mention how playing in a three-piece band situation forces you to do more 'chord leads', so if you're doing an up-tempo song, this can be done in the form of 'double or triple stops'. There are a lot of pull-offs here with 'ghost-notes' before nearly every dual note phrase. I also stress 'thinking with your ears' and being a team player in the studio or on stage.
Outrun The Train
I talk a bit about the origins of 'Outrun The Train' and about how we're playing a lot of notes out of the blues pentatonic scale in this style of playing. This first ascending hammer-on lick goes by really quick when you're playing at full speed and warrants a lot of practice to get clean and precise with it. Then there's a big bend into the standard 'hammering on the third' lick, there's a cool lick with the 'behind-the-nut bend' on the G string into a mixing of Bluegrass and Blues with the forward banjo roll on the revamped blues lick. There are some pull-offs here on the high strings and lots of plucking several strings at the same time for really punchy descending banjo effects and double-stops.
Outrun The Train
We're moving into the A chord or what I refer to as 'the 4' - this is because it is the 4 chord to what key our root tonic is (E). These are neat little chord hammer-on/pull-offs with ghost notes on the open root note string, again lots of Albert Lee influence here, Vince Gill used to do those a lot too. Now we move into 'the 5' or B and I talk about our journey up to the higher strings using notes from a pretty standard major scale that everyone uses a lot, hopefully we're using some some variations with our hybrid picking to make this a more unique sound.
Outrun The Train
Now my favorite phrase of this song, the big 'whole tone' lick over the G/D/A/E progression at the end of the verse. What I mean by that is that this lick starts out as a very 'whole tone' inspired lick, it actually comes back into a more blues pentatonic feel as it descends. It's really important to constantly think ahead when you're playing these fast songs. I like the Chuck Berry reference here on the next droning thing, Chuck's songs were some of the first I ever really studied as a lead guitarist, without Chuck we would have no Keith Richards and the list goes on.
Outrun The Train
I talk a bit about how I've been collecting these 'hot licks' for years. I also talk about how to mix improvisation with phrases that you pick up on your journey as a player. You'll notice the 'pick-up' notes are basically the same as the first verse but this time into a held bend that we come off of into the 'behind-the-nut' bend lick again. I speak briefly of one of my heroes Don Rich, lead guitarist for Buck Owens. Check out all of his work. Don innovated so much stuff in the Country Tele world and should never be forgotten. Then we're moving on into this awesome ascending run in A, it's one of my favorites using banjo rolls with a very Jerry Reed style phrasing.

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Reviews

11 results

George C.

Verified buyer

06/04/25

This course is top-notch, as any of the others I have purchased. And the convenience of being able to learn and practice anywhere at any hour, to review, and with text and tracks. If we stop and consider the cost for each lesson just once through, it is a fraction of what it was before the internet, and even driving to a lesson, taking it once only, and I am also a teacher. What I garner from the lessons, I can impart, and teaching confirms knowledge.

Dave

09/02/21

Incredible

I was looking for exactly this. My buddy is putting together a modern country rock/nashville type act and i'm his defacto music director, and i wanted to just get more expansion in the bag of tricks, and man, the first playthrough watching ladd do outrun the train i did the nervous musician chuckle at some of the stuff i was hearing. Great Course

datac58

Verified buyer

03/30/21

Great! I’ve wanting to be able to communicate with others who use it, now I can.

TravisTrucker

Verified buyer

12/23/20

Not only for modern country

Great course, easy to follow. Useful for traditional country too.

jeredw

Verified buyer

09/08/20

In my case, I'm trying to add a new genre (country) to my jazz world. Ladd Smith's Modern Nashville Guitar provides exactly that; I love it when my fingers are forced out of their comfort zones and, eventually, feel right at home in new territory. Thanks Ladd and Truefire for helping an old man learn new moves!

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