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Stevie Ray Vaughan - Pride And Joy - 1st Two 12 Bar Progressions - Guitar Lesson

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About Pride And Joy - 1st Two 12 Bar Progressions


Few songs teach you more about Texas blues rhythm guitar than the opening of "Pride and Joy." Stevie Ray Vaughan drives the two 12-bar progressions with a relentless thumb-over shuffle, muting the low strings with his picking hand while simultaneously comping chords above, essentially playing bass, rhythm, and fills at once. The song sits in E major at 120 BPM, but the tuning is Eb Standard, so if you want to play along with the recording you need to tune every string down a half step. That half-step drop loosens the strings just enough to allow the big string bends and heavy vibrato that define the feel without fighting the guitar. Getting the shuffle groove locked in is the real challenge here, not the chord shapes themselves. Use the Practice Toolbar to loop each 12-bar progression slowed down until your thumb-mute thump and your chord stabs land at exactly the same time. This is Blues Rock rhythm playing at its most physical and most rewarding.

  • The song is played in Eb Standard tuning, one half step below concert pitch, so retune before playing along with the recording.
  • The signature challenge is Vaughan's thumb-over technique, where the fretting thumb mutes the low E string while the fingers voice chord shapes above.
  • At 120 BPM the shuffle feel must sit solidly behind the beat, and rushing the triplet subdivisions is the most common mistake beginners make.

How to Play Pride And Joy - 1st Two 12 Bar Progressions

Tuning: Eb Standard · Key: E major · Tempo: 120 BPM

It is played in Eb standard, a half step down, so tune down before you start or every position and bend will sit a half step sharp against the recording.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

SRV's heavily worn '63 'Number One' with thick .013-.058 strings and responsive single-coils defined his expressive, dynamic tone. The guitar's worn frets and responsive pickups let him control saturation purely through picking attack and volume knob, a cornerstone of his finger-driven style.

Ibanez Tube Screamer TS9
Pedal

Ibanez Tube Screamer TS9

SRV used the TS9 as a clean boost with minimal drive, maxing the level to push his cranked tube amps into heavier saturation while adding midrange focus. This approach preserved his dynamic control and kept the tone transparent, letting his fingers shape every nuance of sustain and breakup.