Texas blues

History and character

Texas blues is one of the great regional schools of the blues, born in the 1920s with acoustic singer-guitarists such as Blind Lemon Jefferson (who introduced jazz-style improvisation and single-note accompaniment), Lead Belly (also active in Dallas's African American district of Deep Ellum), and Texas Alexander, and continued by Lightnin' Hopkins in Houston's Third Ward. Texas is also the cradle of modern electric blues: T-Bone Walker, who recorded his most influential work in Los Angeles in the 1940s (“Call It Stormy Monday (But Tuesday Is Just as Bad),” 1947), created the model of single-note lead guitar with swing and jazz influences and a horn section, followed by Clarence “Gatemouth” Brown, Lowell Fulson, and Pee Wee Crayton.

In the 1950s and '60s Houston was a recording center with Duke/Peacock (Bobby “Blue” Bland, Junior Parker, Big Mama Thornton) and with guitarists such as Albert Collins (“The Master of the Telecaster,” open F minor tuning and a high capo, an “icy” sound) and Johnny Copeland; Freddie King, with the instrumental “Hide Away” (1961), inspired British guitarists, Eric Clapton foremost among them. From the late 1960s the Austin scene (the club Antone's, the Continental Club) and Texas rock-blues (itself influenced by British blues) brought Johnny Winter, ZZ Top, Jimmie Vaughan and the Fabulous Thunderbirds, and finally Stevie Ray Vaughan, who in the 1980s brought the blues back into the mainstream with the trio Double Trouble (“Texas Flood,” 1983; “Pride and Joy”).

Hallmarks: aggressive, virtuosic single-note lead guitar (wide bends, broad vibrato), swing and jazz in the rhythm section, the Texas shuffle with a more present snare, horn sections in the urban blues of the '40s and '50s, the sound of powerful amplifiers (Fender Bassman, Super Reverb, Vibroverb) and Fender guitars (SRV's Stratocaster, Collins's Telecaster).

Scales and keys

Major-minor blend (the vocabulary of T-Bone Walker and SRV)

• Formula: 1 2 b3 3 4 b5 5 6 b7. On E: E F# G G# A Bb B C# D.
• Characteristic note: the b3 → 3 move (G → G#) and the use of the 6 (C#): the “swinging,” bright sound of Texas blues.
• Use: solos that alternate the minor pentatonic (aggression) and the major (sweetness), with ninth and thirteenth arpeggios à la T-Bone.
• Real-world example: T-Bone Walker — Call It Stormy Monday; Stevie Ray Vaughan — Pride and Joy (E).
• Common mistakes: staying only in the minor “box”: Texas blues also “sings” the major third.

Blues scale and minor pentatonic

• Minor pentatonic on E: E G A B D. Blues: + Bb.
• Use: riffs, aggressive phrases with whole-step bends on the 4 (A → B) and on the b7 (D → E), double stops (G and D together on the second and third strings).
• Example: Freddie King — Hide Away (E); SRV — Texas Flood (G).

Major pentatonic

• On E: E F# G# B C#. Use: “country” and swing phrases, intros and answers; the same fingering as the C# minor pentatonic (relative).

Mixolydian and extended dominant arpeggios

• Mixolydian on E: E F# G# A B C# D. E9 arpeggio: E G# B D F#; E13: + C#.
• Use: T-Bone Walker and Gatemouth Brown play 9 and 13 arpeggios and “jazzy” phrases over the I7.

Dorian (Texas minor blues)

• On A: A B C D E F# G. Use: minor slow blues (Albert Collins in open F minor, some SRV tunes), with the major 6 as a color.

Open F minor tuning (Albert Collins)

• Strings (from the bottom): F C F Ab C F, with the capo often at the 5th–9th fret: it allows minor chords on open strings and a “cold,” piercing sound.

How to choose

Harmony

Harmonic function

12-bar blues in all its forms, often with T-Bone Walker's “jazzy” harmony (ninth and thirteenth chords, ii–V in the turnaround, passing chords as in “Stormy Monday”: I–IV–I with ii–iii–biii–ii in bars 7–8), shuffles in E and A, slow blues in G, C, and Bb.

Typical elements

• I9, IV9, V9 and 13 on the rhythm guitar and the horns.
• Turnaround with secondary dominants (I–VI7–II7–V7).
• Chromatic passing m7 chords (Stormy Monday: G7 C9 G7 Am7 Bbm7 Bm7 Bbm7 Am7…).
• Boogie riffs (Hide Away, ZZ Top — La Grange in the style of John Lee Hooker).

Voicings

Four-note ninth chords (E9 = E G# D F# B), thirteenth (E13 = E G# D C#), a “shuffle” on the low strings with fifth and sixth; double stops in the answers.

Harmonic rhythm

As in the blues; more movement in the turnaround and in the “swing” versions.

Typical progressions

Rhythm and groove

Texas shuffle

Triplet shuffle with a more present snare: besides the backbeat on 2 and 4, the snare also plays the third triplet of each quarter note (ghost) or both hands play the shuffle (double shuffle); kick on all four beats. The result is more driving and “rolling” than the Chicago shuffle (Chris Layton with SRV is the modern model).

Swing and jump

In 1940s–'50s Texas blues (T-Bone, Gatemouth) the rhythm is a big-band swing with walking bass and horns.

Slow blues

12/8 with triplets on the cymbal, strong backbeat, and wide dynamics.

Straight and rock

From 1970s Texas blues-rock: straight eighth notes, boogie, rock grooves (ZZ Top, Johnny Winter).

Microtiming

A very “driving” and precise shuffle; the lead guitar often sits on top of the beat with great energy.

Drums

Principle

The Texas drummer builds a powerful, rolling shuffle, supports a very dynamic lead guitarist, and moves naturally from swing to rock. References: Chris Layton (SRV), Fran Christina (Fabulous Thunderbirds), Frank Beard (ZZ Top), T-Bone Walker's swing drummers.

Texas shuffle

• Ride or hi-hat in shuffle triplets (first and third triplet).
• Snare: backbeat on 2 and 4 + ghost on the third triplet of each quarter note (or double shuffle with two hands).
• Kick on all four beats (velocity 90–110).
• Hi-hat chick on 2 and 4.

Slow blues

Triplets on the ride, full backbeat, kick on 1 and 3, triplet fills on the toms; strong crescendo in the solos.

Swing/jump

Ride spang-a-lang, walking bass, light kick, accents for the horns.

Blues-rock

Eighth notes on the hi-hat, kick on 1 and 3 (with variations), snare on 2 and 4, crash at the start of sections.

Dynamics and velocity

Wide: controlled verses, very loud solos (SRV played very loud), full last chorus; ghosts 30–50, backbeat 115–127.

Interaction

The guitar–bass–drums trio is one block: the bass (Tommy Shannon) walks, the drums push, the guitar plays rhythm and lead at once.

Sections

Intro with riff or turnaround, verses, solo (often long), verse, solo, tag with a final stop or “fermata” and a crash hit.

Fills

In triplets on the snare and toms, at bar 12.

Sounds

Deep 22–24" kick, bright metallic snare, large ride, 14–15" hi-hat; room ambience.

Typical mistakes

A shuffle without the “roll” (missing the third triplet), drums too light for the trio, fills that cover the lead guitar.

Bass

Sound

Electric bass (Precision, Jazz Bass), full and defined; upright bass in 1940s swing Texas blues.

Lines

Walking shuffle (A C# E F# G F# E C#), boogie, lines that follow the guitar in the riffs, jazz walking in the swing versions.

Relationship with the kick

Unison on the quarter notes; the bass carries the triplets.

Examples

Tommy Shannon (SRV), Keith Ferguson (Fabulous Thunderbirds), Dusty Hill (ZZ Top).

Harmonic instruments

• Electric guitar (Stratocaster, Telecaster, Gibson): rhythm and lead at once in the trio (SRV), ninth and thirteenth chords, double stops, shuffle on the low strings; powerful Fender amps (Super Reverb, Vibroverb, Bassman) pushed hard, sometimes with overdrive (Ibanez Tube Screamer for SRV).
• Hammond organ (Reese Wynans with SRV from 1985).
• Piano in urban Texas blues.
• Horns (sax, trumpet) in the bands of T-Bone Walker, Bobby Bland, Gatemouth Brown.

Melody and vocals

Vocals

Strong, warm voices (T-Bone Walker elegant, Bobby Bland with his “squall,” SRV rough and direct, Albert Collins almost spoken), AAB lyrics, call and response with the guitar.

Lead guitar

The protagonist: bends of a whole step or more, broad vibrato, raking (sweeping across the strings before the note), fast triplet phrases, double stops, use of the thumb on the bass strings (Lightnin' Hopkins) and of jazz arpeggios (T-Bone).

Horns

Riffs and answers in urban blues.

Effects

Spring reverb from the amp, sometimes Univibe and wah (SRV on Hendrix-style tunes), overdrive.

Instruments

• Vocals
• Electric guitar (Stratocaster, Telecaster), acoustic guitar (prewar Texas blues)
• Electric bass, upright bass
• Drums
• Hammond organ, piano
• Horns: tenor sax, trumpet (urban blues)
• Harmonica (in some groups, Fabulous Thunderbirds with Kim Wilson)

Drum patterns

Synths and sounds

• B-3 V — Organ: Reese Wynans–style: drawbars 888000000 or 886000000, slow Leslie in the verses and fast in the solos, moderate overdrive.
• Piano V — Piano: Blues piano for urban and swing Texas blues: bright upright, triplets.
• Wurli V — Wurlitzer: Texas soul-blues color (Bobby Bland).

Song structure

Form

• Intro (4 bars, often a guitar riff or a turnaround).
• Verses of 12 bars (2–3).
• Guitar solo (1–4 choruses).
• Verse.
• Second solo (often longer and more intense).
• Tag with a final stop.
• Length 3:00–5:00 (live slow blues 7–10).

Arrangement

Trio or quartet: the guitar changes role from rhythm (verse) to lead (solo); the organ fills and supports; in swing Texas blues the horn section plays riffs behind the solos.

Mixing and mastering

Sonic goal

Powerful, full guitar up front, deep bass, shuffle drums with a present snare, warm vocals, room ambience. References: Stevie Ray Vaughan — Texas Flood and Pride and Joy, Albert Collins — Ice Pickin', Freddie King — Hide Away, Fabulous Thunderbirds — Tuff Enuff. Loudness −12/−10 LUFS (1980s), −10/−9 (modern).

Kick

HP 40 Hz; 60–80 Hz +2 dB; −3 dB at 350 Hz; 2–3 kHz +1 dB; compression 4:1, 3 dB; center.

Snare

HP 90 Hz; 180–220 Hz +2 dB; 5 kHz +2 dB; compression 4:1, 3–5 dB; parallel compression for the shuffle ghosts; plate or room 1–1.3 s.

Hi-hat, ride, cymbals

HP 300 Hz; well-defined ride; pan 20–30%.

Bass

HP 35 Hz; 70–100 Hz +2 dB; −2 dB at 250 Hz; 800 Hz +1/+2 dB; opto 4–6 dB; center.

Electric guitar

• Mics: dynamic close to the cone (SM57 off-axis), ribbon at 15–30 cm, room; two amps in parallel for SRV's “enormous” sound.
• EQ: HP 80–100 Hz; −2/−3 dB at 200–300 Hz if boomy; presence 1–2.5 kHz (the Strat's “bite”); −2 dB at 4–6 kHz if harsh; LP 8–9 kHz.
• Compression: light (2–3 dB) or none; the “open,” dynamic sound is essential.
• Space: amp spring + plate/room 1–1.5 s; low delay at 300–400 ms in slow blues.
• Pan: in the trio, guitar in the center (or slightly to one side) with the organ opposite; two guitars at ±40–60%.

Organ

HP 60 Hz; −2 dB at 300–500 Hz; stereo Leslie; keep it below guitar and vocals.

Vocals

HP 80 Hz; −2 dB at 300 Hz; presence 2–4 kHz; 1176 4–6 dB + opto 2 dB; saturation; plate 1.2–1.6 s, slap 100–120 ms.

Horns (swing blues)

HP 100 Hz; presence 2 kHz; bus 2–3 dB; plate; fan-shaped pan.

FX

Spring and plate; overdrive and Univibe as recorded guitar effects.

Buses and groups

Drum bus (2–3 dB), band bus with tape.

Sidechain

Never.

Master

Chain: EQ (HP 30 Hz) – compressor 2:1, 1–2 dB – tape – limiter. Target −11/−9 LUFS integrated, true peak −1 dBTP.

Common mistakes

Guitar too distorted and compressed (it loses the “touch”), guitar rumble at 200 Hz adding up with the bass, shuffle snare with no audible ghosts, vocals buried by the guitar.

Reference tracks for the mix

Stevie Ray Vaughan — Pride and Joy; Stevie Ray Vaughan — Texas Flood; Albert Collins — Frosty; Freddie King — Hide Away; The Fabulous Thunderbirds — Tuff Enuff; ZZ Top — La Grange.

Reference listening

• Blind Lemon Jefferson — Matchbox Blues (1927)
• T-Bone Walker — Call It Stormy Monday (But Tuesday Is Just as Bad) (1947)
• Lightnin' Hopkins — Mojo Hand (1960)
• Freddie King — Hide Away (1961)
• Albert Collins — Frosty (1962)
• Johnny Winter — Mean Town Blues (1969)
• ZZ Top — La Grange (1973)
• Stevie Ray Vaughan & Double Trouble — Pride and Joy (1983)
• Stevie Ray Vaughan & Double Trouble — Texas Flood (1983)
• The Fabulous Thunderbirds — Tuff Enuff (1986)