Practice Studio

Stevie Ray Vaughan - Pride And Joy Pt.5 - Outro Section - Guitar Lesson

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About Pride And Joy Pt.5 - Outro Section


The outro section of "Pride and Joy" is where Stevie Ray Vaughan lets the groove breathe and winds the song down with the same raw swagger that opens it. Playing in Eb Standard tuning means every string sits a half-step lower than concert pitch, which gives that characteristic looseness and allows Vaughan's signature string bends to feel a little more fluid under the fingers. At 120 BPM the feel is a confident, mid-tempo shuffle in E major, and staying locked into that shuffle rhythm is the real challenge here: the right hand has to keep a steady, swinging eighth-note pattern while the left hand shapes chord stabs and fills. The outro often strips things back, so any small rhythmic slip or pitch issue in your bends will be exposed. Use the Practice Toolbar to loop this section slowed down and focus on keeping your shuffle feel consistent even when the arrangement thins out. This section is a solid entry point into Blues Rock phrasing for anyone building their vocabulary in the style.

  • The song uses Eb Standard tuning, dropping all strings a half-step, which softens string tension slightly and makes Vaughan's wide bends more achievable for most players.
  • The outro section strips the arrangement back, making consistent shuffle rhythm and clean string bends the main technical focus to nail.
  • Locking in the mid-tempo shuffle at 120 BPM is essential before adding any lead fills; practise the rhythm part alone until it feels automatic.

How to Play Pride And Joy Pt.5 - Outro Section

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.