Vaughan often played single-note lines, double-stops, octaves, and chords by flailing on all six strings, while muting unwanted ones with his fretting hand. Try this out on the signature “T-Bone-with-a-b9” lick, the Albert King-style overbend, and the Hendrix-y wrap-up that make up Ex. 2. Use the same approach for Ex. 3’s thumb-fretted bass notes, octaves, and double- and triple-stops, which are played over a straight-eighth groove.
Thanks, bro’. We owe you, big time!