As guitarists, we've all heard those tasty guitar licks that make us scrunch up our faces and say, “How in the world did they do that?” Whether it’s a Hendrix flourish or a smooth, King-style bend from Clapton, these are the magical little moments in playing that we call licks. If you're looking to throw down some sick licks of your own like you hear from the pros, you’re in the right spot.
Knowing how and why guitar licks work can take your playing to the next level. In this guide, we're going to explore how these melodic and technical phrases work, and more importantly, how you can start using them in your own playing.
So, What Is a Guitar Lick?
A guitar lick is like a little musical phrase or a handful of notes strung together that give a song its flavor. Unlike riffs, which tend to repeat throughout a song, licks usually pop up once or twice, often in a solo or between verses, like a quick burst.
I like to think of a lick as a musical exclamation point. It doesn’t dominate the conversation, but when it shows up, you pay attention.
If we were to compare it to language, a lick is kind of like using a cool word or phrase in the middle of a conversation. It might not be the focus of the discussion, but it adds color and flair.
In the same way, guitar licks are small, communicative ideas that connect the larger musical sentences around them. They fill out solos, bring life to melodies, and give the listener something to latch onto in those spontaneous moments of expression.
A Short History of the Guitar Lick
The guitar lick has deep roots in the blues.
Back in the day, blues players would pass around musical ideas, usually based on the foundational 1-4-5 chord progression. If someone came up with something that sounded cool, whether it was a big bend or a tasty note pattern, other players would take that idea and put their own spin on it.
Over time, these musical phrases would spread, evolve, and sometimes even become iconic.
As players kept building on each other’s ideas, certain licks became pretty common, especially in blues and early rock. Some of them even became so popular that they became the "faces" of entire genres.
For example, rockabilly and country often share similar melodic licks, while the blues is home to countless bends and slides that give the genre its signature feel.
The thing is, two guitarists could play the exact same lick, and it would still sound completely different. Think about someone like B.B. King playing a slow, soulful bend versus someone like Eddie Van Halen doing the same thing. The notes might be the same, but the style and delivery make all the difference.
At the end of the day, it’s not just about hitting the right notes, it’s about how you play them.
Guitar Licks vs. Guitar Riffs
Many guitarists confuse guitar licks and riffs. After all, they’re both catchy and make songs memorable. However, there’s a big difference between the two.
A riff is usually the main musical idea, something that repeats throughout the song and anchors the melody or rhythm.
Licks, on the other hand, are more like little musical flourishes that come around every now and then to add some spice.
Take Guns N' Roses' Sweet Child O' Mine . That iconic opening guitar part from Slash is a riff. It’s instantly recognizable, repeats throughout the track, and sets the tone for the entire song. You hear that riff, and you know exactly what song you're in for - it’s the hook that grabs you and holds the song together.
Take Led Zeppelin’s "Whole Lotta Love," for example. That opening guitar part is a riff. It’s instantly recognizable and you know what song it is the moment it hits, no matter the tone or playing style.
But not all riffs have to be the main idea. Sometimes riffs are subtle and sit more in the background, like in Stevie Wonder's "Superstition."
The famous clavinet riff drives the groove, but it’s not necessarily the focus . It’s more of a rhythmic foundation. So while riffs are usually more central than licks, they can still be used in different ways depending on the song's needs.
Guitar licks vs. Guitar Solo
Licks and solos are two different beasts, though they’re closely related.
A solo is a longer, more developed piece that often contains several licks. In a way, solos are like a collection of licks woven together to create a complete musical statement.
Many guitarists use licks as building blocks when improvising a solo. For example, someone like Eric Clapton might take a few classic blues licks and then improvise around them to create a solo on the spot.
Over the years, he's built up a toolbox of phrases that he can pull from whenever the moment calls for it. So while a lick might be just a few seconds of something, a solo uses those moments to create something bigger and more dynamic.
How to Write a Guitar Lick
While guitar licks may have their roots in blues, they’re not limited to just one genre.
You can find licks in rock, jazz, metal, country, you name it. However, in blues, there are a few classic techniques that players often use to create memorable licks. For example, moving up and down the minor pentatonic scale is a go-to move. Throw in some bends on the blue note (the flat 5th), and you’ve got that unmistakable blues feel. You can also experiment with intervals like thirds and ninths to add a bit more character to your playing.
No matter the genre, here are a few tips to help you write your own guitar lick:
- Start with a simple melodic idea, often based on a scale or chord (sing it if you need to!).
- Experiment with rhythm. As someone who plays a lot of funk, I love using syncopation and rests.
- Use bends, slides, and hammer-ons/pull-offs to create fluidity and movement.
- Play around with different note combinations and intervals.
- Add dynamics by varying your attack and picking technique.
- Lastly, keep it short and memorable. The key here is not to overcomplicate it.
Of course, there's no better way to start experimenting with making your own licks than by learning from the pros!
8 Examples of Iconic Guitar Licks
The "Lick"
Ah, The Lick. If you’ve spent any time around musicians, especially jazz players, you’ve probably heard this one more times than you’d care to admit. It’s easily the most infamous lick out there, and not just in jazz. You’ll find it in blues, rock, funk, pop… it’s become the "Where’s Waldo" of guitar licks. Once you hear it, you can’t unhear it.
Originally made famous by jazz musicians, The Lick has taken on a life of its own. It’s a short, catchy sequence of notes that works pretty much anywhere. It’s almost like a meme in music at this point. People love to use it, sometimes a little too much.
But, overused or not, there's a reason it’s so popular. It does a fantastic job of adding a little spice to solos and fills. Put it in your arsenal, just, you know, try not to use it everywhere .
Blues Double Stops
Now that we've gotten talking about "The Lick" out the way, let's kick things off with one of the most legendary guitar licks ever - the blues double stop. If you’ve ever listened to Chuck Berry’s "Johnny B. Goode", you know exactly what I’m talking about. That intro? Probably one of the sickest in rock history.
You could argue that Chuck Berry ignited a full-on rock and roll revolution with those double stops!
So, what is a double stop? In simple terms, it’s when you play two notes at the same time. It’s a cool trick that gives your playing more harmonic texture.
The cool thing is this lick didn’t just stay in old-school blues and rock and roll. As with many things Chuck Berry, it’s been borrowed, repurposed, and sprinkled into countless songs since.
For example, Keith Richards of The Rolling Stones took that Berry-flavored double stop and made it a key part of their sound. You can hear it in tracks like “Honky Tonk Women.” Angus Young of AC/DC is a huge double-stop fan too, though he electrified it with his more aggressive style in tracks like “Back in Black.”
Jazz Fusion
Jazz fusion is a beautiful middle-ground where jazz meets rock and gets a little weird, in the best way possible. It takes the improvisation of jazz, throws in some rock energy, funky rhythms, and a little bit of psychedelia.
Some of the most legendary jazz fusion guitarists include John McLaughlin, who, with his band Mahavishnu Orchestra, shredded with lightning-fast runs and odd time signatures, and Allan Holdsworth, who could bend notes and minds with his smooth legato and almost otherworldly phrasing. And, of course, Pat Metheny.
If you’re looking for a unique example of jazz fusion licks in action, Mike Einziger of Incubus serves some killer ones in “Summer Romance (Anti-Gravity Love Song)," especially that smooth, legato one just before the first verse.
Blues Flourishes
When it comes to clean blues flourishes, no one did it quite like Jimi Hendrix. Sure, Hendrix was known for wild distortion and bending his guitar to his will, but when he dialed it back with clean tones, that’s where the magic really happened.
In “Little Wing,” Hendrix lays down one of the most beautifully expressive guitar intros of all time, all of which is made up of several unique licks. The whole thing feels precise yet feel completely effortless, combining arpeggios, hammer-ons, and pulls-offs, all with a clean, glassy Strat tone.
"Funk #49" - James Gang - Pre Bends
A pre-bend is a neat guitar lick technique where you bend the string before you actually hit the note, so when you pluck it, the note is already singing in its bent position. It’s one of those moves that gives a lick that extra bit of personality and flair, and Joe Walsh has been using it like a blues Jedi throughout his career.
While a lot of his solo work showcases these pre-bends beautifully, one of the best examples can be found in his early work with James Gang, particularly in “Funk #49.”
Bends and Silence
In blues music, the bend is where a conversation happens between the guitarist and the listener. It almost gives the guitar a vocal quality.
By bending the string, you stretch a note’s pitch up to a higher one, adding tension and release in a way that words sometimes can’t. And no one understood the power of the bend quite like B.B. King.
B.B. had a unique style when it came to bends. He didn’t just bend a note for the sake of it, he’d bend it slowly, and once it reached its apex, he'd use his iconic wrist-swinging vibrato.
But where his genius really showed was knowing when not to play. Silence between phrases was just as important as the notes he bent. King would leave space between his licks, giving the listener time to feel the note before hitting them with another soulful bend.
This combination of bends and silence is a perfect lesson in guitar lick dynamics. When you give your notes room to breathe, you create anticipation and make each phrase hit even harder.
Jazz Octaves
One of the signature moves in jazz guitar is the octave technique , where you play the same note on two different strings, one higher and one lower, creating a fuller, more dynamic sound. This technique was made famous by none other than the legendary Wes Montgomery , whose buttery smooth playing and octave runs became a hallmark of jazz guitar.
Check out 5:51 in the video above to see it in action!
Playing it is actually simpler than it sounds. You place your fingers on two strings, typically skipping one in between (like the D and B strings), and make sure both notes are an octave apart. From there, you slide the shape up and down the neck.
I love using octaves to give my guitar licks a more melodic quality.
Old-School Funk
Old-school funk guitar playing is all about tightness. Funk licks aren’t long, drawn-out guitar solos with bends and arpeggios. They’re short, precise, and packed with rhythm and vibe.
If there’s one guitarist who defined this style, it’s Jimmy Nolen, the man behind James Brown’s signature sound. Nolen’s “chicken scratch” lead guitar playing became the heartbeat of Brown’s band, and his sharp, percussive sound influenced an entire generation of funk guitarists.
Mastering funk guitar licks means mastering rhythm. Use techniques like muted strumming, quick slides, and syncopated picking to capture that tight, funky feel.
Final Thoughts
Guitar licks are the spice we add to bring out flavor in our playing. While they might not have the instantly recognizable power of memorable riffs, licks are what give your solos and phrases that extra bit of personality.
With a lick played right, you can break the monotony and can turn a simple melody into something special, whether it’s a bluesy bend or a jazzy octave run.
If you want to start incorporating licks into your music, some great resources include JustinGuitar , Pickup Music , and even YouTube channels like Marty Music or Jens Larsen for jazz. These platforms break down classic and modern licks and show you how to use them in real songs.
Once you’ve got a few under your belt, start experimenting with adding them into guitar solos and songs. The more you explore, the more these licks will become a natural extension of your own unique sound!
