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101 Amazing Licks - Lick 41

We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?

Through the years, these licks have evolved into a vocabulary for the guitar. And like great writers who are always able to find the right word to make a point, great guitarists always have that essential lick at their disposal to express, in the moment, what they’re feeling. And whereas the best writers are able to string those words together to form remarkable prose, the best guitarists link their licks to form living, breathing, musical statements.

We called upon our mighty stable of instructional writers to assemble these 101 Amazing Guitar Licks, spanning over eight decades and ranging from rock, metal, and blues to jazz, country and bluegrass. Regardless of what style music you play, it will do your ears and your chops good to go through each of these licks. Learn them, master them, and keep them on file for the next time you’re looking for just the right way to say what’s in your soul.



Origin: Whereas many shredders rely on common melodic shapes—particularly three-notes-per-string patterns—guys like John Petrucci and Steve Morse seem to be able to play anything, anywhere on the neck, like this lick.
Theory: This E Mixolydian–based (E–F#–G#–A–B–C#–D) line features a chromatic climb up the 2nd string on each downbeat in the first measure, followed by a quasi-chromatic descending cacophony of sextuplets.
Playing Tip: Notice that there is not a single instance of three-notes-per-string patterns in this lick. This makes for an excellent alternate picking exercise.

Check back tomorrow for Figure 42!