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

Practice Studio

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

Sections · Loop · Speed · Metronome

Not in tune?

Select a Loop

Start of your loop
End of your loop

Speed Control

Speed
100%

Tools

BPM
Key E major
·
–50¢ 0 +50¢
· Tap to start

Your browser will ask for microphone permission.

Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
AI tone preset

AI-selected preset based on genre and era — adjust the knobs to taste.

Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Capo Advisor 0 E major · Original key

Pride And Joy Pt.5 - Outro Section


"Pride And Joy Pt.5 - Outro Section" is a study segment drawn from Stevie Ray Vaughan's signature blues track "Pride and Joy." The song is a cornerstone of Texas blues guitar, showcasing Vaughan's aggressive yet soulful playing style. Learning the outro section is particularly valuable for electric guitarists, as it highlights his trademark string bending, vibrato, and rhythmic shuffle techniques in a focused, manageable passage.

  • The outro section isolates Vaughan's closing phrasing, making it ideal for studying how he builds and releases tension at a song's end.
  • Stevie Ray Vaughan typically tuned his guitar a half-step down and used heavy-gauge strings, contributing to his thick, powerful tone.
  • "Pride and Joy" is one of Vaughan's most recognized compositions and a go-to piece for guitarists seeking to develop authentic Texas blues technique.
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.