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Country soloing in its most explosive form looks a lot like what Johnny Hiland does on fast-paced train rhythm grooves in the key of A. He uses every corner of his set: pentatonic runs, steel guitar-style bends, open string licks, double-stop passages, and chromatic lines that cut through the mix like hot knives. If you’ve built a country lead guitar vocabulary and want to see how a master weaves those techniques into real full-throttle solos, this breakdown is your roadmap. We’ll cover the key moments in Hiland’s solo, explaining what he’s doing and why it works. Gives you practice strategies to pace them.

What Makes Solo Country Songs by Train So Demanding

First, let’s talk about the context. The rhythmic flow of the train is non-stop. This locks in the never-ending pulse of eighth notes. Therefore, your phrasing must be precise. There’s no hiding behind rubato or slow shuffling.

Hiland’s solo sits right on top of that groove. He didn’t fight it. Instead, he lets the rhythm machine drive his lines forward. As a result, every technique he uses, from twists to open string coils, must be on point.

For intermediate players, this is a real lesson. Playing a country solo isn’t just about knowing the right notes. It’s about delivering it with timing and attitude, even when the tempo demands it.

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How Pentatonic and Steel Styles Shape Solos

The opening part of Hiland’s solo draws heavily from the A pentatonic scale. That’s the foundation. However, he immediately colored the pentatonic shape with curves that reference the sound of a pedal steel guitar.

Steel-style bends in country solo playing usually involve pushing the note up one full step, then holding it while the melodic note sounds over it. Hiland applies that idea to the electric guitar with great precision. For example, he’ll bend the G string up while the B string supports it, creating a crying sound and vocal quality that country players love.

If you want to learn more about bending all three pedals the steel way, this comprehensive breakdown covers the mechanics in detail. For now, just know that these bends give an expressive edge to Hiland’s A pentatonic track that no regular scale track can match.

The Open String Movement that Defines Its Sound

This is where things get interesting. One of Hiland’s signature moves in this solo is rolling the second fret to the fourth fret on the D string while letting the open G and B strings ring freely. The result is a cascading high-low sound that is instantly recognizable as country guitar.

In other words, you get a low fret note, then two open strings sound above it in sequence. The contrast between the fret notes and the open strings is the essence of the cock-picking style. This creates a bell-like, banjo-adjacent quality that fits perfectly with the train’s rhythmic groove.

Practice this movement slowly first. Then gradually increase the tempo until it matches the underlying pulse. Since open strings ring by themselves, your right hand must be very clean. Accidental dampening will mute the effect.

Launching into a Double Stop: A Big Positional Leap

Next, Hiland uses one of the most dramatic movements in his solo: a slide starting from the open E note on the high string to the 14th fret. That’s a big leap. However, when it lands, it launches a double-stop bending path on the G and B strings.

The double stops in a country solo work because they add harmonic weight without losing the powerful single note attack. Hiland bends both strings simultaneously, so that the distance between the strings remains consistent. The effect is thick and vocal, almost like two violin notes pushing up against each other.

This section is worth isolating in your practice. First, nail the slide. Then add a double-stop bend on top. Finally, dial in at half tempo before pushing towards full groove speed.

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Blending Blues Attitude into a Pentatonic Run

Then in the solo, Hiland’s phrasing shifted. He began mixing pentatonic bases with blues scale attitudes. In particular, he added b3 and b7 to a line built on the major pentatonic form.

This is a key concept for any player exploring the country alone. The blues scale and the country pentatonic scale are not enemies. Instead, they can coexist in the same phrase. Hiland moves between the two color palettes fluidly, sometimes in a single bar.

For a deeper look at the blues-meets-country crossover in action, check out Greg Koch’s approach to a chicken pickin’ lead solo. The method has a similar mixing philosophy. Meanwhile, Hiland’s version here remains rooted in the A-groove context, so the phrasing feels organic and not tacked on.

How to Use Tabs to Learn This Solo

TrueFire includes complete tabs and notation for these Hiland lessons. Here’s a practical approach to dealing with it.

First, use tabs to map the solo into three or four different parts. Identify each piece by its primary technique: pentatonic run, open string roll, double-stop climb, and close-inflected blues.

Next, practice each section separately at 60 percent tempo. Because of the train’s non-stop rhythm, locking each lick individually will save you a lot of frustration later. Then connect the parts in sequence, adding several groove bars between each part. Finally, perform a full solo at tempo once the connection feels natural.

Putting It All Together in Your Country Solo Workout

Every element in Hiland’s solo relates to a broader understanding of the demands of country lead guitar. Open string winding, steel style bend, double-stop running. The blues-influenced pentatonic lines are all instruments in the same set.

Playing country solo at this level isn’t about memorizing licks. It’s about understanding why each technique fits the musical moment. Hiland makes that clear every time he plays this groove solo. He chose each idea deliberately, and the result is a solo that sounds both spontaneous and structured.

Start with one section. Clean. Then build from there. If you want more context on how country’s outlaw grooves and attitudes shape lead playing, or how Andy Wood’s approach adds twang to blues phrases, both perspectives will sharpen your ear for what makes country guitar feel authentic. Keep the tab in front of you, keep the flow going, and let the train beat do its thing.

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