Stevie Ray Vaughan
Here’s a V- IV- I turnaround in C Minor Pentatonic, adding the D (2nd) and Gb (b5th) for colour. Lot of bends happening here, so make sure you support them well, using more than just one finger. One of the key features that made SRV’s style so powerful was his strong command of rhythm, not least when he played more rhythm- guitar-like passages. The final two bars here are an example of that Hendrix-inspired borderland between rhythm-playing and soloing, ending on a double-stop, made out of the b7th (Bb) and #9 (Eb) of the final C7#9 chord.