Chapter 2

The solo in "Texas Shuffle" contains some licks that use 3rds and 6ths from the fMixolydian mode.
Below we see all of the 3rds on each string set from the E tVixolydian mode. Notíce that you are only
using two finger shapes for all of the 3rds. Get these underneath your fingers before learning the licks.

. 72 128
a) b c)

d) e)

Exercise 1 is a great Johnny Winter lick that uses N/lixolydian 3rds to outline an E7 chord. You can
use alternate picking or hybrid (combination of pick and fingers) picking to play this lick. §*
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Irack 6
Ex. I
E]

Exercise 2 is a horn-inspired lick from [Vr. Winter that uses lVixolydian 3rds over an E7 chord
5*
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Ex. 2

E7 Track 7

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15
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Now let's learn all the 6ths on all six strings from the E tMixolydian mode. Note again that there are
only two finger shapes used. To play the 6ths you can use your pick and damp the string in between the
fretted strings with one of your left hand fingers or use hybrid picking. Of the two I recommend that you
use hybrid picking. lf you have never played with a combination of pick and fingers before, then the 6ths
and the exercises that follow would be a good way to help you develop that technique' Hybrid picking
gives you a little more control over the notes and also gives you greater dynamic possibilities'

1aa
"a
a) b)

c) d)

)-
-

É {
É a 11 1i
A ^ J 2 4

Exercise 3 is another great lick that I learned from Johnny Winter. lt sounds as though he may have
learned it from a piano player (his brother Edgar perhaps) and is a good lick to use over the V-lV-l pro-
gression that starts on bar 9 of a 12-bar blues

Ex.3
O
Track I
B7 A1 E7

p- Lfrt-
-: ?.lF-
-
"r_ let ring ---

T
t ^

The turnaround lick in Exercise 4 uses all 6ths and can also be used as an intro or as an ending lick
This is one of those licks that you have to knowl

Er. .1

E7
C] B1
c
Irack !

let ring
J J
-

T-

16
 Cha¡rter 2
Exercise 5 is an SRV lick that is from a pattern 4 B tvlixolydian mode. You can play this lick over any
dominant 7th chord.

Ex.5

B1
#
Track 10

J J,

E¡
ET-

Exercise 6 is a phrase in the style of both SRV and Johnny Winter that is from the E minor pen-

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tatonic scale, with the addition of an F#

Ex.6
Irack 1 l
!tñt!!lvlv!! ttttww
E] 1E a

1 trvtvtvtrr* ffi

42

I learned the lick in Exercise 7 from [Vlr. Winter also. lt's a good lick to repeat when building excite-
ment in a solo. The faster you can play it the better!

Ex.7
B'7
#
Irack 12

Before you start learning the solo you should first be able to play through the preceding exercises.
"Texas Shuffle" has a four-bar intro that starts on the turnaround. The solo begins with Ex. 5. The lick
in bar 2 is a variation that leads to the I chord (E7) in bar 3. The turnaround lick in Ex. 4 starts on beat2
of measure 3 and takes you through the end of the intro.
Chorus 1 is in the style of SRV and quotes a few of his licks and phrases from "Pride and Joy." Don't
over bend the quarter-step bend on the G note which begins on the and of beat 2 in measure 6. The
same lick appears again in bar 8. A simple but very effective use of 3rds begins in bar 9 and continues
through beat 3 of bar 10. Bars 11 and 12 contain some nice open-string licks (you'll learn a lot more of
them in "Funkin' lt Up"). The lick in bar 12 works best when you use hybrid picking. Bars 13 and 14fea^
ture a great lick that I learned from Brian Setzer, whom I consider a blues-rock player of sorts. l've also

17
 -::'r Si¿,,'e p a) sorreli¡rng s milar to it. ln bar 13 the 87 chord (B-Dz-Ft-A) is arpegg'aieo "' th the 9th
^' -r:!=J
u- ^- á Jd>> ng tone. Once again dont over bend the quarter-step bends on C; and G (the 3rd
^^! d5
ano 7th of 47l in bar 14 Bar 15 has another good SRV-inspired open-string lick that resolves into a
s mp e turnaround lick using 6ths.
Chorus 2 is ln the style of Johnny Winter and begins with one of his trademark chordal licks in bar 17 '
Jcinny takes the E7 chord shape of bar 17 and moves it down a half step (one fret) to imply an A7('9)
:r:ord in bar 18. He then moves up one fret and returns to E7 for beats 1 and2 of bar 19' The triad on
cea: 3 of bar 19 implies E6, and the passing chord on beat 4 implies Ei6 on its way down to E9 in bar
2C beat 1 . You get the E1 3 chord on beat 2 by using your third f inger' The lick in Ex' 6 starts on beat 4
bar 20 and continues through bar 24 with some embellishments. Ex' 7 is found in bar 25 and is part of
,-r'

a phrase ihat ends on the and of beat 1 in bar 27.t'Aake sure you nail the one-and-a-half-step bend on
¡eat 1 of bar 26 (just push the string till you can't push it anymore). Another Johnny Winter-inspired lick
srarts on bea|2 of bar 27 and ends the chorus.
Chorus 3 continues in the style of Johnny Winter with the lick from Ex' 1 that outlines the E7 chord
using 3rds. The lick continues to ascend into the lV chord (A7) via passing notes on beat 4 of bar 32' The
3rds that are played over the A7 chord are from the A tVlixolydian mode' When using [Vixolydian modes
to solo over a blues progression you want to treat each chord in the progression (l-lV-V) as a I chord'
What that means is that, in this case, you would play E tMixolydian over the E7 chord, A tVlixolydian over
the 47 chord, and B lVixolydian over the 87 chord. Another great classic Winter lick begins on beat 4 of
bar 34 and continues until the end of bar 37. The Johnny Winterisms continue in bar 38, and this chorus
ends with an E tVixolydian blues turnaround lick The lick in Ex. 2 begins on the and of beat 4 in bar 40
and runs into the fourth chorus.
Chorus 4 begins with Ex. 2 and transposes it over the lV chord (A7) as well' N/lake sure you get the
trill in bar 46; it adds a bit of variety to the line. Ex. 3 closes this chorus out starting on beat 4 of bar 48'
The ending lick that starts in bar 51 on the 'and' of beat 1 is an SRV-inspired lick that ends the tune'
It's a good one to have in your arsenal of ending licks. You should try to learn this solo as close to the
recording as possible. You can use the "Texas Shuffle" rhythm track lo practice the solo and to practice
playing your own solos using the licks and phrases you have learned.

Te¡«as Shuffle R.B. Calva

#ffi
Irack l3 lrack 14 (Bhythm Track)

lntro r-
Nloderate Shuffle .l: rzo (fl: I J )
A7
B1 ;

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v J
o
o+

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18
 Chapter I
Choms I
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E7 C] B] E1

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114 Ú4 t/4 |4 |4 1/4 1/4

,\'7 E]
9 .t J rJ-

|4

|.91.v,.v1.9

-vY vJ K-/ \:/ L/

12 B7 w
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l/4 1t4
iittftiiii!!

Chorus 2
t5 EA C] B1 E7

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19