Style deep dive 3

Learn Stevie Ray Vaughan's style: rhythm and lead in one hand

What Stevie Ray Vaughan does on the guitar, taken apart the way a course would take it apart — the heavy strings and the low tuning and what they do to the hands, the pick from the arm and both hands muting, the Texas shuffle as a bass player and a rhythm guitarist in one hand, the thumb chords with a riff under them, the 9ths and 13ths of the slow blues and the Albert King box over them, the open-string runs from Lonnie Mack, the horn stabs of the funk blues, Lenny's maj13 and its 6th chords under the bar, Riviera's ii–V in octaves — and put back together as eight feels with rhythm, lead and mixed parts in each, and a course of eleven lessons built around improvising rhythm and lead together. The songs are analyzed as reference points; the lines are written from the idiom, not copied. Every claim is cited at the foot of the page, and every hard technique is linked to a human explaining it on camera.

He tuned a half step down, always, on strings as heavy as .013: what is fingered as E sounds as E♭, and "Pride and Joy" in E sounds in E♭.^{[W3] [W2]} Everything on this page is written in the fingered key, which is how players talk about it; Sound in E♭ in the margin plays every card a half step down, so the ear can hear the records' pitch, and off it plays as written so a guitar in standard tuning can play along.

Start here

The twenty lessons are in seven units, in order. Each lesson steps from reading to looking to playing to applying, with the tempo taken up in steps on the exercises that matter and, in most lessons, a piece where the band plays and the fill bars are left to you.

1. Where it comes from

Everything started with his brother Jimmie, who left his guitars around the house and brought the records home: B.B. and Albert King, Albert Collins, Hubert Sumlin, Buddy Guy.^{[GW2] [RRG]} The first record Stevie owned was Lonnie Mack's "Wham!". He copied Mack's licks and credited him with the fast phrasing, the tremolo picking and the vibrato.^{[W1] [GP1] [W6]}

The other players gave him these things:^{[W8] [GD1] [GW3] [GW2] [VG1] [VG2] [GP2]}

Albert King gave him the bends. King let "little Stevie" sit in at Texas clubs, called him his godson, and told him on their 1983 television session that he had both the fast playing and the soul.
Hendrix gave him the thumb over the neck, the 7♯9, the double stops with hammer-ons, the wah, and the bar on top.
Otis Rush gave him the band's name and the left-handed bar. Buddy Guy gave him "Mary Had a Little Lamb", Lightnin' Hopkins the boogie "Rude Mood" runs on, T-Bone Walker the 9ths and 13ths, Chuck Berry "Love Struck Baby".
On the jazz side, Kenny Burrell, Wes Montgomery ("Riviera Paradise" is in Wes's octaves) and Django.

He had no theory: one year of it in high school, flunked. Under him was a Texas tradition in which the style begins with how you play a shuffle, long before you solo over one.^{[GW2] [GP1] [TF1]}

The players

Line	Player	What he took	Where it is on this page
Texas	T-Bone Walker	The 9ths and 13ths, "that descending ninth chord thing that he did as an intro", single lines like a horn.^{[AA1] [TF2]}	The slow blues comp; the jump lines of the rock and roll
	Freddie King	"A walking blues encyclopedia": the muscle, the instrumentals, "Hideaway" in his sets.^{[AA1] [GW7]}	The fast side
	Lightnin' Hopkins, Albert Collins, Johnny "Guitar" Watson	The boogie of "Rude Mood"; the icy attack; the flash.^{[VG1] [TF1]}	The boogie with the dead notes
	Jimmie Vaughan	The records, the guitars left around the house, rhythm guitar on "Couldn't Stand the Weather".^{[GW2] [W13]}	Everywhere
Chicago and the Kings	Albert King	The bends — "strangled string bends, snapped string attack, singing vibrato, terse rhythmic phrasing" — and the box above the root.^{[VG1] [HB2]}	The Albert King box
	Buddy Guy, Otis Rush, Hubert Sumlin, Howlin' Wolf, Muddy Waters	The call and response of "Mary Had a Little Lamb"; the bar on top; "the heaviest and most original guitar player I've ever heard in my life"; the A♭9–G9 cadence.^{[VG1] [GP2]}	The funk blues; the slow comp's cadence
Rock and roll	Lonnie Mack	"The fast things I do", the tremolo picking, the vibrato; "Scuttle Buttin'" as "another way of playing Chicken Feed".^{[GP1] [SF1] [W6]}	The open-string runs
	Jimi Hendrix	The thumb over the neck, the 7♯9, the double stops with hammer-ons, the wah, the left-handed bar.^{[GW1] [GW2]}	The thumb chords, the stabs, the ballad's embellishments
	Chuck Berry	The straight-eight rhythm and the double stops of "Love Struck Baby".^{[W10] [VG1]}	The rock and roll
Jazz	Kenny Burrell, Wes Montgomery, Grant Green, Django Reinhardt	"Chitlins con Carne", the octaves of "Riviera Paradise", the maj13 and the 6th chords of "Lenny", "a lot of finesse to be learned in jazz".^{[VG2] [GW2]}	The ballad and the vamp

2. The hands: the setup, the pick, the muting

The setup.^{[W2] [GP1] [GP2] [GW3] [GC1]}

He played a Stratocaster, "Number One": a 1963 body, a 1962 rosewood neck, 1959 pickups, jumbo frets, and a left-handed tremolo so the arm comes out on top, with the springs too tight to move with a finger.
He used strings as heavy as .013 to .058 and tuned everything a half step down, for different overtones and an easier key to sing in.
He ran two blackface Fenders with a Tube Screamer in front: "the Fenders for distortion and the Marshall for clarity".

If you play lighter strings, the fingering is the same and the pitch is a half step higher. Heavier strings cost more in the bends and the vibrato, and they move less when they are hit.^[W2]

The pick, from the arm. He held a Fender medium by its rounded shoulder for more attack, and the stroke came from the arm rather than the wrist: "he picked with his entire arm", as Kirk Hammett put it. On the shuffle, strum from the elbow and let the fret hand do the muting.^{[W2] [GW4] [HB1] [GW6]} Under the pick the fingers fan out, and on the ballads and the fast instrumentals they take notes of their own. That is hybrid picking, and it is dug in.^[GW1]

Both hands muting. This is the trick that makes a wide strum sound like one note: he stopped every string he did not want to sound, so the right hand could hit everything and only the G string produced a pitch.^{[DP1] [GW6] [DS1] [GC4]}

The fret hand's spare fingers lie across the strings. The bass line is fretted with the sides of the fingers, so the idle strings are dead.
The thumb over the neck chokes the low E, and the underside of the ring finger dampens its neighbors.
The picking hand's heel rests on the bass strings for the palm mute and lifts for the stab.

The chunk is the top three strings struck dead on an upstroke, on the swung "and" of every beat. It is where the shuffle keeps its time, and the exercises start there.

The grips

These are the hand shapes the feels are built on, grouped under a core shape with its variations beside it. T is the thumb over the top of the neck; x is a string left dead. Where the shape is not obvious, a line says where the other fingers go: the thumb chords have the A string under the thumb's pad, the 13th has its dead A string under the index, and the maj13 has the pinky laid flat. Each grip says whether the sources describe the fingering or it is the usual way.

The changes, with the grips

The changes each feel runs on, with these grips and nothing else — the bass line and the chunk, the comp grips slid in, the thumb chords and the riff, the stabs — so the hand learns the changes before the lines between them.

3. The scales: where the notes live, and the riffs made from them

The box under the hand. Pentatonics are the core of his scale playing. He rested the thumb on top of the neck as an anchor and used mostly the first three fingers, almost always in the minor pentatonic, with the major mixed in now and then.^{[GW1] [HB1]} The shuffle's box is E minor pentatonic in the open position, where the bass line's strings and the fills' strings are one shape. The fast lines climb into the box at the 12th fret. In both, the ♭5 is slid through. Every scale on this page is followed by a riff made from it, because a scale is a place to play from, not a thing to run.

Each figure is drawn in the fingered key of the feel it belongs to. The ringed notes are the roots. A dimmed note is in the scale but not in the chord it is played over, and a hollow note is a color or a blue note.

Each box is drawn, played as a drill over its band, then played as a riff written from it note by note — the scale's notes in a phrase with the devices the sources name, home on the root — so the scale is learned as music, not as a ladder.

The shuffle box, in the open position

The blues box at the 12th

The Albert King box

Albert King's box. This is the second minor-pentatonic shape, on the top three strings above the root. In G it is B♭ and C on the high E string at the 6th and 8th frets, F and G on the B string, and C and D on the G string. King let his bends sustain their full length and took his time reaching the target note.^{[HB2] [HB3] [PG2]}

The ♭7 is bent a tone to the root, and the 4th to the 5th.
The ♭3 is bent to the 4th, or two whole steps to the 5th.
Bend stacking pushes the 6th, 7th and 8th frets of the high E string in turn. "Texas Flood" does it around 3:15.

The bends, the curl, the vibrato. The bends stay in tune and sound like a voice. They come from the first finger as well as the third, with a slight shakiness that is part of the sound.^{[GW1] [GW4] [PG2] [TXBA3]}

The curl is a quarter-tone bend into the crack between two notes. He added it even to notes already bent a step or two.
The trainwreck bend of "Texas Flood" pushes two strings up together so they screech on purpose.
The oblique bend holds the top string with the pinky while the second or third string bends.
The vibrato is wide and muscular, a whole-arm motion pivoting at the wrist, and it starts only after the bend arrives. On a chord, the vibrato is the bar, rocked slowly.^{[GW4] [GW1] [W12]}
The mordent plays the root, the semitone above it for a moment, and the root again. It is an SRV identifier on "Texas Flood".^[VG1]

In the tab, ¼ is the curl, b1 a tone, b1½ a step and a half, and b2 two whole steps. A double stop with both numbers bent is the two-string bend. bar~ over a chord is the arm.

The strut box, and the hand moving

The Lenny box

The Riviera box

4. Exercises

In the order the course takes them, from the chunk alone to the ii–V comp. Each is fixed — the same tab every time — so it can be learned note for note; clean at the starting tempo first, then turn it up.

5. The feels: rhythm, lead, and both at once

These are the lead parts for each feel, written against the chord they sit on so they follow the changes: the open box, the Lonnie Mack runs, the Albert King box, the strut's double stops, the horn answers, the rock and roll box, the Lenny box with its ornament, and the Riviera box in octaves. The blues parts play the minor pentatonic over the major chords, with the ♭3 against the chord's 3rd on purpose. The ballad and the vamp stay in their own colors.

These cards carry both parts; the rest of the page leads to them. Each carries a figure and lead lines both: rhythm in the figure bars and a lead line in about half the fill bars, the way the only guitarist in a trio plays. The fill bars are yours, and the course's improvising pieces say what to try in them.

Each feel: what the sources say it is, then its cards — the rhythm part, the lead part, and the mixed part that carries both — each the engine playing a part of the SRV library over its band.

The Texas shuffle

The Texas shuffle. "Pride and Joy" is a walking bass line on the low strings and muted stabs on the treble strings. The bass line plays root, 3rd, 5th, 6th and the ♭7 on the way back, on the beats. The top three strings are struck muted on every swung "and" as an upstroke. The picking hand keeps a constant swing whether the strings ring or not.^{[HB1] [GW1] [GW1b]}

Keith Wyatt gives the order to learn it in:^[GW6]

Learn the bass part first, one note on each downbeat.
Then learn the chords, as upstrokes on the upbeats only.
Then put the two together.

The Texas shuffle underneath moves root–5 to root–6 and up to root–♭7. The Vaughan brothers' variation goes 5–♭7 over the IV and comes back.^[TF1] The two-note chords that slide in between the bass notes are found relative to the key's root, so they work in any key.^[TXBA2]

Why E: the open strings. The shuffle sits in E because the open strings make it possible. The chord is the top strings open, the bass line is the low E and the A string, and the shapes that let the most strings ring get the most out of the instrument. Premier Guitar's version alternates E and A6 and over-bars the A to catch the F♯.^{[GW6] [W3] [PG1]} The shuffle and the funk blues are realized in the open position — the open strings and four frets — and the tab names each bar's grip.

The fast shuffle and the open strings

The fast side. "Rude Mood" runs at 264 bpm. The bass notes are played fast with muted notes between them for a swung feel; there is riffing and string scraping like a hyperactive "Pride and Joy", rockabilly in the boogie-woogie bass lines, a long string of eighths under a major-pentatonic melody, and a repeated-note fanfare. It comes after Lightnin' Hopkins, and its hardest bars use hybrid picking.^{[W11] [VG1] [GC2]} "Scuttle Buttin'" is Lonnie Mack's "Chicken Pickin'" reworked. Its fast pull-offs use the open strings, which makes them easier to articulate. The riff bends on the record and slides on the road, to spare the hand.^{[SF1] [GW1] [GL3]}

The slow blues in 12/8

The slow blues: the comp. T-Bone Walker's harmony — dominant 9ths and 13ths, and the descending 9th-chord intro — is the Texas comp. The 13th has its root on the low E and its A string dead under the index. The 9ths have the root on the A string and the ring finger across three strings. Each slides in from a fret below. The ♭II cadence on "Tell Me" is A♭9 to G9, slid down from above. Restraint is part of the vocabulary.^{[TF2] [AA1] [VG1]} "Texas Flood" opens on Fenton Robinson's chordal intro in 12/8 with the IV in bar two, and the comp behind his singing is these grips with the bass walking the last beat.^{[VG1] [W5]}

The minor strut

Bass-and-chord style: the strut. "Cold Shot" is a menacing strut through a Vibratone, with double stops and dissonant two-string licks. The chords are thumb chords: the thumb on the root on the low E and the index across the top four strings, Am7 at the 5th fret, the same hand at the 10th for Dm7, and the 7♯9 for the V. The riff alternates the root and the ♭7 on the D string in a shuffle with everything else dead, and the open strings sound on the upstrokes between.^{[GC2] [JM2] [DS1]} The band cut it at four in the morning on its first complete run-through.^[GW9]

The thumb chord: where the fingers go.^{[JM2] [GW1]}

The thumb comes over the top of the neck and frets the low E with its pad. The pad rests on the A string and kills it on purpose: five strings sound, not six.
The index lies flat across the D, G, B and high E strings at the same fret.
The riff is on the D string. The octave is at the index's fret and the ♭7 two frets below it, so the index lifts for the ♭7 and the middle or ring finger takes it.
The double stops on the B and high E strings sit at the index's fret and three above it, under the index and the pinky.

Hendrix's thumb on the E-shape barre (see the Hendrix course on this site) is the same thumb. Here the shape is the m7 and the A string is deliberately dead. The wrist sits low to let the thumb reach.

The funk blues in sixteenths

The funk blues in sixteenths. "Mary Had a Little Lamb" keeps Buddy Guy's record whole. It is a sixteenth-note boogaloo blues with low-register riffs and chord figures that imitate horn parts. The guitar switches constantly between rhythm and lead, on E7, A7, B7 and the 7♯9, with a minor-2nd clash against the root, and with restraint. "Testify" is the 7♯9 as a vamp in Hendrix's lead-and-rhythm riff style. "Couldn't Stand the Weather" is sixteenth-note strumming where accuracy is the whole job.^{[JM1] [VG1] [GC2] [GW1]}

Straight-eight rock and roll

Rock and roll in the trio. "Love Struck Baby" is a driving Chuck Berry rhythm figure — the 5th-to-6th comp in straight eighths — over a train beat. Rock and roll double stops fill out the trio, with boogie comping, bent triads, chromatic 6/9 passing chords, and T-Bone's jump-blues lines.^{[W10] [GW1] [VG1]}

The chord-melody ballad

Lenny: the maj13 and the 6th chord. "Lenny" plays the I–IV of the blues as a vamp in a jazz vein, with enriched voicings of E major and A major. The Emaj13 is root, 3rd, major 7th, 3rd and 13th — x-7-6-8-9-9, with the pinky laid flat. Against it sits a movable 6th chord with the bar's vibrato on it, which moves through B, D, G and B♭ in the bridge, the same thirds-related sequence as Coltrane's "Giant Steps". Between the chords come Hendrix-by-way-of-Mayfield double stops, bar shimmers and harmonics. The solos use E major, E minor pentatonic and E minor blues, with the F natural as an ornament.^{[VG1] [VG2] [GW8] [GC3] [W12] [GC2]}

Hybrid picking. The sources describe the pick with the fingers fanned out behind it: a pick-and-fingers approach in the jazz-flavored lines, thumb and fingers for a full sound on the double shuffle, hybrid picking in "Riviera Paradise" and "Rude Mood", and an upstroke rake on the acoustic. Nothing read for this page describes him playing without a pick.^{[GW1] [GW1b] [TF3] [GC2] [JM3]} So the cards say hybrid picking on the ballad and the vamp, and a note marked m in the tab is one a free finger takes under the pick's bass note. Every other card is the pick alone.

The soul-jazz vamp

Riviera: the ii–V and the octaves. Em9 to A13 — the emblematic ii–V — bookends his jazz pieces, with brushed Wes Montgomery octaves, the pick scraped behind the nut with the bar, and a run of raked strings. It was recorded with the lights down after a full day's work and finished seconds before the tape ran out. The organ is Reese Wynans. "Stang's Swang" and "Chitlins con Carne" are the same side of him.^{[VG2] [GC2] [SF2]}

6. The songs, as reference points

The table says what happens in each record — its key as fingered, its form and the devices to listen for — and links to a tab of it. The tab is theirs; the analysis is here. The parts on this page draw on the way of playing in each record and copy none of its lines. Chord progressions are common stock (the US Copyright Office and the Second Circuit in the Ed Sheeran case both leave them outside copyright^[LAW]), so the changes are given as they are, under Stevie Ray Vaughan in the Jam tab's presets.

7. Studies

The studies are whole forms to play through: the twelve bars each feel runs on, with a mixed part realized over them and its fills and lead lines rolled. They are not the songs; they are the app's own writing over their forms. The last lesson plays them with the fill bars left to you.

8. Improvising rhythm and lead: the method

Figure, question, answer. Every mixed card on this page is built the way the only guitarist in a trio improvises. A figure is home — the bass line and the chunk, the thumb chord and its riff, the grip slid in on one, the 5–6 comp — and it plays in the bars where the song needs a floor. Every second bar or so is a fill bar: the figure asks a question and the box under the hand answers it. The answer is short — three or four notes of the box, one bend, a double stop, the rake into a note — and it lands on the low root, on the chord's 3rd, or on the grip again. The bass never stops for it. Then the hand walks into the change, and the figure is home again.

Practise it in this order:

Play the figure bars with the card and leave the fill bars empty.
Put one thing in each empty bar, then two.
Play the card's fills back to it, then play your own.

Say the phrase before you play it. The last lesson does this over every feel.

9. For teachers

Every fingering on this page says whether the sources describe it or it is the usual way (the tag under each grip), and every claim about the records is cited. The author never heard the playing itself (see How this was made), so treat the tab as an account of the idiom, not a transcription.

Common faults, and how to hear them

Device	What goes wrong	What to listen for
The chunk	The upstroke rings instead of scratching; or the hand stops moving between the bass notes and the chunk comes late.	A dead stroke exactly on the swung "and", the pick moving through every eighth whether it sounds or not.
The bass line	The idle strings ring under the bass note; the 6th is reached with the wrong finger and the line stumbles.	Play one low note at a time: root, 3rd, 5th, 6th with the middle and ring fingers, with the sides of the fingers on everything else.
The sliding 6ths	The two notes arrive at different times; the string between them rings.	Both notes land together on the "and"; the underside of the finger kills the string between.
The curl	The quarter tone becomes a half step, or nothing.	A note that sits between two frets and stays there — the "crack" between them.
Open-string pull-offs	The open string is quieter than the picked note before it; the finger lifts instead of snapping.	Every pull-off as loud as the note before it, the finger leaving sideways.
The 13th grip	The A string rings between the root and the ♭7; the top e sounds.	Sound four strings only, with the index's underside on the A and the pinky's side on the top e.
Bends	Under pitch by a quarter tone, or the vibrato starts before the bend arrives, or the bend goes straight to the note with nothing in between.	Play the target fretted, then bend to it; the pitch matches, then the wrist moves.
Vibrato	From the finger alone, narrow and fast, or so wide the note is another note.	The wrist, "wide and muscular", even, starting after the note has spoken.
The thumb chord	The A string rings (the thumb's pad is off it), or the top e is dead (the index isn't flat), or the riff sounds two strings.	Sound five strings on the chord and one on the riff: the thumb's pad rests on the A, the index lies flat, and the ring finger's underside lies on the strings above the riff.
The sixteenth scratch	The sounding strokes drift off the pattern; the dead strokes ring.	Play sixteen even strokes with only one, the "and" of two and four, ringing.
The bar	Too much — the chord goes to another chord — or the arm knocks the tuning out.	Rock the bar slowly, a semitone at most, so the chord stays the chord and comes back in tune after.
Harmonics	The finger presses instead of touching, or stays on the string after the pick.	The finger over the fret wire, the pick, the finger lifting: a chime, not a fretted note.
Octaves	The string between the two rings; the two notes arrive apart.	Sound two notes an octave apart with nothing between, the pick sweeping both as one.
Trading bars	The bass stops when the fill starts; the fill runs into the next bar and the figure comes late.	The bass line through the fill; the fill landing before the bar ends; the figure on one.

When it is learned

A strum across all six strings sounds only the low E, and the chunk is dead on the swung "and", at 60 bpm and at 100 bpm.
The bass line and the chunk hold for twelve bars at 100 bpm with the band without looking, on E, A7 and B7.
The two-note chords slide in on the "and" in E and in A, both notes together, with nothing between.
The open box in swung eighths is even at 120 bpm, and the riff from it lands on the low root every time.
The boogie with the dead notes is clean at 160 bpm, and the open-string run is clean at 140 bpm with every pull-off as loud as the note before it.
The 13th and the 9ths slide in on one at 62 bpm with only their strings sounding, and the bass walks the last beat.
The ♭7 bent to the root, the ♭3 bent to the 4th and the ♭3 bent to the 5th each arrive in pitch before the wrist moves, in G and in A.
The two-string bend rises as one, and the stacked bends go up the top string in turn.
The thumb chord sounds five strings and the riff sounds one at 100 bpm, with the double stops between, on Am7, Dm7 and the 7♯9.
The riff and the stab trade every bar at 100 bpm with the stab on the "and" of two, and the scratch is sixteen even strokes.
The 5–6 comp runs in even eighths at 150 bpm, and the double stop bends a tone in pitch.
The Emaj13 and the 6th chord sound every string under the bar, the harmonics ring, and the arpeggio is played with pick and fingers.
The octaves sound two strings apart with nothing between, up and down the Riviera box, and the ii–V comp holds under the bar.
Any study on this page plays twice through with the band with the fill bars left to you, and something happens in every one of them.

10. How this was made

What was done, and what was not. Claude (an AI model — Claude Fable 5.1, in Claude Code) wrote this page, the SRV genre in the app and the course at the owner's request in September 2026. The research was reading. The sources below were fetched and read as text: the Wikipedia articles on the man, his instruments, the records and the songs; the Guitar World interviews of 1984 and 1985 and its lessons; a Guitar Player interview; Wolf Marshall's two Fretprints analyses in Vintage Guitar; the web lesson sites; Andy Aledort's list from Jimmie Vaughan; Songfacts; the account of the Albert King session; and the legal sources on chord progressions. All of it is written down in docs/SRV-RESEARCH.md.

No recordings were listened to and no videos were watched. The videos are linked by their titles and by what their pages say. Several magazine pages could only be read through a text-extraction proxy, and the source list says so. The standard oral history, Paul and Aledort's Texas Flood, was not read and is named as a book to go to. The rest is the model's own knowledge of the music, checked against the sources where they overlap.

The parts were written the way every part in this app is written (docs/STYLES.md), and the way this course was planned and reviewed is written down for the next one (docs/COURSES.md). They come from the idiom — where the weight falls, which strings, which notes, how a phrase ends — and never from a transcription, and no signature riff is reproduced. The boogie line, the shuffle, the 5–6 comp, the Berry double stop, the ii–V vamp, the 6th chord moved by thirds and the mordent are the common property of the music.

Each part is a figure with variants, fills that know whether the next bar changes, lead lines, and a beginner's version, written in the interval notation the engine realizes onto the neck.
The engine gained what these parts needed: the quarter-tone curl, both strings of a double stop bent, the bar's vibrato, the harmonic at the 12th fret, the upstroke rake, a note taken by a free finger, the thumb chord, the maj13, 6th, m9 and 13th grips, and a switch that sounds a page a half step down. A test holds each, and each test was broken on purpose and seen to fail.
Every card was realized and read string by string against this page and the research with tools/dive-check.js. The tool prints every bar and holds the rules: every bar has notes, every note sits in the hand's position or says it reaches, treble material over a low-E root lands on the treble strings, and a named grip comes as itself. A test loads the page and holds the same over three seeds.

The tabs are realizations rolled from a fixed seed, so the page reads the same each time. The sound is the app's own recorded guitar and synthesized band. Tempos are approximate and keys are as fingered. "As heard in" means the way of playing on that record, not its notes. The prose is written to docs/WRITING.md.

11. Sources

Lettered and numbered as cited above and in docs/SRV-RESEARCH.md. "Read" means the page was fetched and read as text; "summary" means only a search engine's summary could be read; "through a reader proxy" means the page was read through a text-extraction service.