In This Guide
1 Building Your Blues Vocabulary
Blues guitar soloing is a language, and licks are the words and phrases of that language. Just as you learned to speak by imitating words you heard, you learn to play blues by absorbing licks from the masters who came before you. Every great blues guitarist, from B.B. King to Stevie Ray Vaughan to Eric Clapton, built their personal style by first learning the licks of their heroes and then combining and transforming them into something new.
A "lick" is a short musical phrase, typically two to eight notes long, that can be used in various musical contexts. The best blues licks are versatile enough to work over multiple chord changes and in different positions on the neck. Think of each lick as a building block: individually they are simple, but when strung together with good phrasing and timing, they become powerful musical statements.
The licks in this guide are drawn from the minor pentatonic scale and the blues scale, which are the two most important scales for blues soloing. Most are presented in the key of A, which is the most common key for blues jam sessions. Once you learn them in A, transpose them to E, G, and other keys to build true fluency across the fretboard.
The key to making these licks sound authentic is not just playing the right notes but playing them with the right feel. Blues is all about expression: bends that cry, vibrato that shimmers, slides that connect notes like a human voice, and silences that speak as loudly as any note. As you learn each lick, pay as much attention to the articulation and dynamics as you do to the notes themselves.
Pro Tip
Learn each lick at a painfully slow tempo first. Play it until you can execute every bend, slide, and vibrato perfectly. Then gradually increase the speed. A lick played slowly with great feel will always sound better than a lick played fast with sloppy technique.
2 Bend-and-Release Licks
String bending is the soul of blues guitar. The ability to push a string up to raise its pitch, hold it there, add vibrato, and release it back down is what separates a blues guitarist from someone who merely plays notes on a fretboard. The bend-and-release lick is the single most common type of blues phrase, and you will hear it in virtually every blues solo ever recorded.
Essential Bend-and-Release Licks in A (5th Position)
Lick 1: The Classic B.B. King Bend E |-------8b(10)r(8)---5---------| B |---5-----------------8--5-----| G |---------------------------7--| D |------------------------------| A |------------------------------| E |------------------------------| Lick 2: Whole-Step Bend with Vibrato E |--------------------------------------| B |---8b(10)~~~---8--5-------------------| G |------------------------7b(9)r(7)--5--| D |--------------------------------------| A |--------------------------------------| E |--------------------------------------| Lick 3: Pre-Bend and Release E |----(10)8b---5------------| B |---------------8---5------| G |-----------------------7--| D |--------------------------| A |--------------------------| E |--------------------------| b = bend r = release ~~~ = vibrato (target pitch) Pre-bend: bend before picking, then release
The first lick above is the quintessential B.B. King phrase. He would bend the high E string at the 8th fret up a whole step (two frets), hold it, release it, then pull off to the 5th fret on the B string. This three-note combination, played with precise intonation and expressive vibrato on the bend, is one of the most imitated sounds in blues guitar. B.B. King could play this single lick a dozen different ways by varying the timing, dynamics, and vibrato speed.
The pre-bend in lick 3 is an advanced but essential technique. You bend the string before you pick it, so the first sound the listener hears is the bent note, which then descends as you release the bend. This creates a crying, vocal quality that is incredibly expressive. Practice pre-bends by bending the string silently, then picking it while it is already bent, and controlling the release speed with your fretting hand.
When practicing bends, use your ear as the primary guide. Bend the note up and compare it to the target pitch by fretting the target note first. For a whole-step bend at the 8th fret of the B string, the target pitch is the same as the 10th fret. Your bend should hit that pitch exactly, not sharp, not flat. Vibrato added to the top of a bend should oscillate around the target pitch, not wander aimlessly.
Pro Tip
Use multiple fingers to support your bends. When bending with your ring finger, stack your index and middle fingers behind it on the same string. This gives you much more control and power, especially for whole-step bends on heavier gauge strings.
3 Box Position Licks in Minor Pentatonic
The first position (also called "box 1") of the minor pentatonic scale is where most blues guitarists spend the majority of their soloing time. In the key of A, this is centered around the 5th fret. The licks in this section all come from this position and can be used over the I, IV, and V chords of a blues progression. These are the bread-and-butter phrases that every blues guitarist needs.
Box Position Licks in A Minor Pentatonic
Lick 4: The Repeating Triplet E |----5---5---5---5---5---5----| B |--5---5---5---5---5---5------| G |--7---7---7---7---7---7------| D |-----------------------------| A |-----------------------------| E |-----------------------------| (played as triplets with shuffle feel) Lick 5: The Descending Run E |-----------------------------| B |---8--5-----------------------| G |---------7--5-----------------| D |---------------7--5-----------| A |---------------------7--5----| E |-----------------------------| Lick 6: Hammer-On Pull-Off Flurry E |---5h8p5-----------5h8p5-----| B |-----------5h8p5-------------| G |--5h7p5--------5h7p5---------| D |-----------------------------| A |-----------------------------| E |-----------------------------| h = hammer-on p = pull-off
Lick 4 is a repeating triplet pattern that Albert King, Buddy Guy, and Jimi Hendrix used extensively. The three notes (one each on the G, B, and high E strings) are played in a rapid triplet rhythm, over and over, building intensity and energy. This lick works as a tension-builder in the middle of a solo, driving toward a climactic bend or resolution note. The key is to keep the triplet rhythm absolutely even and to gradually increase the picking intensity as you repeat the pattern.
Lick 5 demonstrates how to descend through the pentatonic box in a smooth, flowing line. Starting on the B string and working your way down to the A string, this lick covers the full range of the scale in one continuous phrase. Use alternate picking (down-up-down-up) to keep the rhythm even, and let each note ring clearly. This kind of descending run works perfectly after a big bend at the top of the scale.
The hammer-on and pull-off lick (lick 6) uses legato technique to create a fluid, connected sound. Instead of picking every note, you hammer your finger onto the string for ascending notes and pull it off for descending notes. This produces a smoother, faster sound that contrasts beautifully with the picked notes around it. Practice the hammer-ons and pull-offs until they are as loud and clear as your picked notes.
4 Call-and-Response Phrases
Call-and-response is the fundamental structure of blues music, rooted in African musical traditions and the field hollers that preceded the blues. In a blues solo, call-and-response means playing a short phrase (the "call") followed by an answering phrase (the "response"). This creates a conversational quality, as if the guitar is singing a question and then answering it. It is the most natural and compelling way to structure a blues solo.
Call-and-Response Licks in A
CALL (ascending, questioning): E |---5---8b(10)~~~------------| B |----------------------------| G |----------------------------| RESPONSE (descending, resolving): E |---8b(10)r(8)---5-----------| B |------------------8---5-----| G |-------------------------7--| CALL (high register, intense): E |---8---8b(10)---8b(10)~~~---| B |----------------------------| G |----------------------------| RESPONSE (low register, grounded): E |----------------------------| B |---5------------------------| G |-------7---5----------------| D |-------------7---5----------| A |-------------------7~~~-----|
Notice how the calls tend to go up in pitch and end on an unresolved note (like a bend held with vibrato), while the responses descend and resolve to a more settled note. This mirrors the natural inflection of speech: questions rise in pitch at the end, and statements descend. When you play a call-and-response phrase, you are literally having a conversation with your instrument.
The space between the call and the response is just as important as the notes themselves. Leave a beat or two of silence between the two phrases. This silence is where the listener processes what you just played and anticipates what comes next. Rushing from one phrase to the next without leaving space is the most common mistake intermediate blues guitarists make. As the legendary B.B. King famously said, "It's not the notes you play; it's the notes you don't play."
To practice call-and-response, play along with a blues backing track and force yourself to alternate between playing and silence. Play a short phrase (two to four notes), then rest for a full bar. Play another phrase, then rest again. This forces you to make every note count and teaches you to use space as a musical tool. Over time, you will develop a natural sense of phrasing that breathes and speaks like a human voice.
Pro Tip
Record yourself soloing over a blues backing track, then listen back. Count how many seconds pass between phrases. If you are playing constantly without any gaps, you are not using call-and-response effectively. Aim for at least a beat of silence between every two or three phrases.
5 Double-Stop and Chord-Tone Licks
Double-stops are two notes played simultaneously on adjacent strings. They add harmonic richness and rhythmic punch to blues solos, breaking up the single-note lines with thick, chunky sounds. Double-stops are a defining feature of the playing styles of Chuck Berry, Stevie Ray Vaughan, Freddie King, and many other blues and rock guitarists.
Double-Stop Licks in A
Lick 7: Sliding Sixths E |---5/7---7/9---9/10---10\9---7\5--| B |---5/7---7/9---9/10---10\9---7\5--| G |----------------------------------| D |----------------------------------| A |----------------------------------| E |----------------------------------| Lick 8: Thirds on B and G Strings E |-------------------------------| B |---5---7---8---10---8---7---5--| G |---5---7---7----9---7---7---5--| D |-------------------------------| A |-------------------------------| E |-------------------------------| / = slide up \ = slide down
The sliding sixths lick (lick 7) is one of the most versatile sounds in blues guitar. By sliding two notes up and down the neck in parallel, you create a horn-like melodic line that adds sophistication to any solo. This technique was a favorite of B.B. King and is used extensively in soul, R&B, and gospel guitar as well. The secret is to keep both notes ringing evenly and to use a smooth, controlled slide motion rather than a jerky one.
Chord tones are the individual notes that make up a chord. When you play a lick that targets chord tones, it sounds like the lick is "following" the harmony, creating a strong connection between the solo and the underlying chords. Over an A7 chord, the chord tones are A, C#, E, and G. Hitting one of these notes on a strong beat makes your solo sound harmonically aware and intentional, as opposed to just running up and down a scale.
To practice chord-tone awareness, play a simple 12-bar blues backing track and try to land on the root note of each chord when it changes. Over A7, land on A. Over D7, land on D. Over E7, land on E. This is a simple exercise, but it trains your ear and your fingers to be aware of the harmony moving beneath your solo. Once this becomes automatic, you can target other chord tones like the third and seventh for more colorful soloing.
6 Connecting Licks into Complete Solos
Learning individual licks is only the first step. The real art of blues soloing lies in connecting licks into coherent, emotionally compelling solos that tell a story over the 12-bar form. A great blues solo is not a random collection of licks strung together; it is a carefully paced narrative with a beginning, a middle, and a climax.
Start your solos simply and in the lower register. Use short phrases with plenty of space, establishing a mood. As the solo progresses through subsequent choruses, gradually move higher on the neck, use more complex licks, and increase the intensity. Build toward a climactic moment, typically a big bend or a rapid-fire phrase at the peak of the scale, then bring the energy back down to resolve. This arc, from quiet to loud and back, is the blueprint for a compelling blues solo.
Use transition techniques to connect one lick to the next smoothly. Slides are the most common connector: end one lick with a slide up to the starting note of the next lick. Bends can also serve as transitions, bending into the first note of a new phrase. Hammer-ons from one lick's last note into the next lick's first note create fluid, seamless connections. Avoid stopping abruptly between licks, which makes the solo sound choppy and disconnected.
Finally, practice soloing over complete 12-bar blues progressions, not just isolated backing tracks or single chords. Pay attention to the chord changes and let them influence your note choices. When the IV chord arrives in bar 5, adjust your lick selection to acknowledge it. When the V chord hits in bar 9, play with more urgency. When the turnaround arrives, use a turnaround lick to bring the form around. This awareness of the form is what transforms a collection of licks into genuine blues improvisation. For more on this, check our guide on blues improvisation.
Pro Tip
Transcribe solos by your favorite blues guitarists note for note. Not only will this add licks to your vocabulary, but it will teach you how the masters connected their phrases, paced their solos, and used dynamics. Even transcribing one 12-bar chorus from B.B. King can teach you more about blues phrasing than weeks of scale practice.
Key Takeaways
- Blues licks are the vocabulary of blues soloing; learn them from the masters and make them your own
- String bending with accurate intonation and expressive vibrato is the most important blues technique
- Use call-and-response phrasing with space between phrases to create conversational, vocal-like solos
- Double-stops add harmonic richness and break up single-note lines for greater variety
- Target chord tones on strong beats to connect your solos to the underlying harmony
- Build solos from simple and low to complex and high, creating a compelling emotional arc