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Watch the Nashville Waltz online guitar lesson by Ladd Smith from Modern Nashville Guitar

As you can hear, there is a ton of Vince Gill influence on this one. When I was a kid I would study everything I could get my hands on that had to do with Vince. If you haven't listened to Vince's albums, you really owe it to yourself to do that. He's an incredible guitarist, songwriter and vocalist and one of my greatest musical and humanitarian heroes to this day. Who else do you know that has turned down a personal invitation from Mark Knopfler to join Dire Straits full time? If you've noticed from our earlier tunes, I was exposed to all of the same classic country and rock that Vince was, probably because my parents were in their 30's when I was born in 1982 - Vince actually engineered an album for my parents in the 70's in his garage studio in Norman, Oklahoma - Mom had to play her keyboard using only a visual cue and by memory because they didn't have any working headphones, pretty amazing. Because we studied basically all of the same people I feel a strong connection with his work. I want to mention just a few of those artists here, so you can get an idea of what all is in the melting pot; The Eagles, Bill Monroe, The Beatles, Eric Clapton, Tommy Tedesco, Glen Campbell, Albert Lee, Merle Haggard and Roy Nichols, Grady Martin, Harold Bradley, Reggie Young, Buck Owens and Don Rich, John Fogerty, Speedy West and Jimmy Bryant, Pete Townshend, Bob Wills & The Texas Playboys, this list could go on for pages. As a fellow Okie, I've always felt a kindred spirit in Vince personally and he's always an inspiration as well as very supportive and encouraging to me anytime our paths have crossed. So back to the Waltz. I talk a lot about how we approach this sort of thing in the studio. The 6/8 and/or the 'Silent 2 Waltz' seems to be an ever present staple of country radio, "I'm Moving On" by Rascal Flatts comes to mind as a pretty recent 6/8 hit. Notice that I'm sliding up into a lot of chord shapes that are arpeggiated with banjo rolls as part of our initial run up the neck. That's a great thing to add into your playing. I try to always be aware of the chords that I'm working out of anywhere on the neck. Now here's that big Vinny lick out of A. I absolutely love that oscillation between the two notes. You just can't do that on a keyboard or wind instrument, it's a sound wave phenomenon. It's still something that totally fascinates me when someone like Larry Carlton or Knopfler or Vince uses it as an instrument in-of-itself.