50 Shred Licks You MUST Know Introduction

Welcome to 50 Shred Licks You MUST Know! You’ll learn 50 of my favorite

shred licks from many of my favorite guitarists, including Paul Gilbert, Zakk
Wylde, Eddie Van Halen, Steve Vai and Yngwie Malmsteen. These licks have
been chosen because of their versatility and application in a multitude of
different contexts as motifs for original improvisations. Beasley covers minor
and major, major 7th, minor 7th, pentatonic major and minor, scale and
arpeggio motifs, right and left-hand techniques, double-stops, melodic
development and a useful variety of picking techniques.

Alternatively Lick # 1
This lick is designed to develop and strengthen your picking technique.
Executing the lick on one string requires a precise alternate picking ability and
utilizes all four digits of the fretting hand. Synchronizing the two hands is a
must for any shredder and this lick targets that aim.

Five O' Clock Somewhere Lick # 2

This pentatonic lick has been widely used by many great rock and shred
guitarists. The lick starts with a whole step bend and moves into a 3 note
arpeggio followed by a triplet feel melody. In this case I've phrased it in
quintuplets (5's). It's very challenging to alternate pick as each pass through the
five notes requires the opposite picking of the previous pass. Nevertheless it is
a staple for any rock or shred guitarist.

Flat Top Lick # 3

This lick utilizes the flat-picking technique and the pentatonic scale. Starting
with a pull-off then a string skip from the 5th to the 3rd string. The pull-off and
the flat-picking technique make it easier to play at a quick tempo creating the
illusion of fast alternate picking.

Trip Case Lick # 4

The triplet with the pentatonic scale creates a flurry of notes that definitely
gets the listeners attention. Alternate-picking is required and is a bit difficult
in that an odd numbered sequence has alternate picking patterns: down-up-
down then up-down-up. A staple of Randy Rhoads and Zakk Wylde.

Sweep Myx Lick # 5

The 6-string major arpeggio ending with the flat-7th incorporates an element
of the mixolydian scale (1,2,3,4,5,6,b7). Sweep-picking allows for speedy
execution and requires the fretting hand to move quickly instead of difficult
alternate picking with the picking hand.

Arp Attack Lick # 6

Another sweeping arpeggio but this time an actual mixolydian arpeggio
(1,3,5,b7) ending on the root (A). There's a bit more reaching involved for the
fretting hand.
Wylde Style Lick # 7
Here we have a classic southern rock lick ala Zakk Wylde. Lots of hammer-ons
and pull-offs and very little picking involved. We can end the lick on the b3 or
bend to the root (C) from the b7.

Dym Sum Lick # 8

Now we use a diminished arpeggio (1,b3,b5) that creates an interesting tension
in the listener, resolving to the root of the pentatonic scale. This lick can use
alternate-picking or the sweep-picking technique.

Malmsteen's Regime Lick # 9

A single string lick ascending in pitch each time flows nicely over the rock line
ala Yngwie Malmsteen. The picking here is a challenge as well as quick fretting
hand position shifts. That being said it's a great tool for synchronization of both
hands.

Harmo-Sync Lick # 10
The same single string idea but a 3rd higher gives us the same challenges as the
previous lick but with an added bonus in that this line harmonizes with the
previous single-string line. Again great for hand synchronization.

Metal Hammer Lick # 11

A sweeping minor arpeggio over this metal riff. Lots of left hand work including
some hammer-ons and pull-offs at the highest point coupled with sweep-
picking.

Gliss & Tell Lick # 12

A minor 7th arpeggio (1,b3,5,b7) incorporating a glissando (slide) with the
pinky finger of the fretting hand. This lick is a Steve Vai classic.

Penta-Trip Lick # 13
Here's a pentatonic triplet straight out of the Zakk Wylde playbook. The picking
is difficult using strict alternation but yields great benefits for the overall
picking technique.

Ascention Lick # 14
Now the pentatonic triplet ascending into a whole step bend to the root (A).
Again the picking is challenging but well worth the effort. Zakk would be
proud!

Pick Hardy Lick # 15

The pentatonic sextuplet descending and ending on a Picardy third (major 3rd
in a minor scale). This one is a bit easier to pick than the triplets. This shred
lick works great in blues based music as well. Each sextuplet begins with a
down-stroke.
Pentascension Lick # 16
Now we ascend with the pentatonic sextuplet ending on the root (A). I start
each sextuplet with an up-stroke but many players are more comfortable
starting with a down-stroke. Either way is acceptable as long as you focus on
your alternation.

Four Six Lick # 17

This lick uses the major scale but also includes a picking technique ala Paul
Gilbert. The 4-notes up and 4-notes back followed by 6-notes up is a Paul
Gilbert trademark. I culminate the lick with an eighth note chromatic triplet
resolving to the root (E).

Big Paul G Lick # 18

Again we utilize the Paul Gilbert technique but this time we insert position
shifts making the lick challenging for both hands. Each position shift begins
with finger one of the fretting hand to provide stability when changing
positions.

Three Sweep Lick # 19

This sweeping arpeggio is a little more player friendly in that you only have to
sweep across three strings. It's initially a major arpeggio but culminates on the
b7 giving it a mixolydian element. Great if you're just beginning to develop
your sweep-picking technique.

Minor Madness Lick # 20

Here we have a minor 7th arpeggio in c#m also utilizing the sweep-picking
technique and resolving to the root at the end of the lick. Again it's a bit easier
to execute because of the 3-string sweep.

Zee Quads Lick # 21

Another Zakk Wylde type of approach to the pentatonic minor but this time in
quadruplets. We alternate the highest notes C (20th fret) and D (22nd fret) to
add color.

Wylde One Lick # 22

Here we have the same idea as the previous lick but with the addition of the b5
(Eb) we create an interesting tension in the listener before we resolve to the
root (A).

Pedalmania Lick # 23
This lick incorporates the flat-picking technique coupled with the pedal
technique in E minor. Flat-picking or hybrid picking involves the use of the pick
and the fingers of the picking hand working together to execute a melody. The
pedal is a melodic technique where a line of notes is played and every other
note is a particular note or notes that is inserted between each note of the
line. In this case the note (E) is the pedal and is flat-picked with the middle
finger of the picking hand.
Quintapedal Lick # 24
Now we use the same flat-picking and pedal idea but with five strings instead
of three also resolving on the root E. This one requires a bit more stretching
with the fretting hand.

Intervallica Lick # 25
Here we take an intervallic approach to a descending melody in D minor.
Beginning on the 6th tone (Bb) on the first string 6th fret, and descending in
major 2nds (2 frets) and minor 2nds (1 fret). Major and minor 2nds are known
as simple intervals (distances) in music thus the term intervallic. This lick has
an Yngwie Malmsteen/J.S. Bach ring to it and is great for picking and fretting
hand synchronization.

D Minor Ladder Lick # 26

Now we ascend using the intervallic approach in D minor. This passage is a
little tougher and requires more fretting hand finger independence.

Sequential Scream Lick # 27

This lick incorporates the sequencing technique. Sequencing is when you break
a melody into different number sequences, in this case quadruplets. I take a
simple B major scale and descend in quadruplets, ending on the root B. The
picking execution is a bit challenging but great for picking development.

Quadra Bee Lick # 28

Now we ascend with the sequencing technique in B major. This is more
challenging than the descending sequence and also utilizes quadruplets.

See Quints Lick # 29

This lick uses the sequential technique but in this case quintuplets (groups of
5). This lick is common to players like Eric Johnson and Shawn Lane. This is a
more player friendly approach to this typically difficult sequence. The odd
number (5) makes the picking aspect more difficult.

555 Lick # 30
The quintuplet sequence again in a different position on the fret board. This
one is a little more challenging than the first but is quite an attention getter.

Sweepo Myxo Lick # 31

Here we use a sweeping major arpeggio involving all 6 strings and resolving on
the flat-seventh scale degree (D) on the first string at the 22nd fret using an
element of the mixolydian mode. Sweeping an arpeggio is easier than alternate
picking and allows for quick melody execution without the need for great
picking skill.
Shred It! Lick # 32
This lick utilizes the triplet figure inside of a mixolydian (1,3,5,b7) arpeggio.
The alternate picking is a bit more challenging but the lick is an impressive
shredding melody.

Threez Lick # 33
Here is a pentatonic triplet that alternates the soprano note between the 5th
and the b5th creating an interesting tension and release in the listener.

We Serve Minors Lick # 34

This lick is a sweeping minor 7th arpeggio (1,b3,5,b7) in Em that resolves on
the root. It incorporates all six strings making it a bit more challenging than
sweeps that use less strings but has a nice color with the inclusion of the b7.

Dorian Gray Lick # 35

This lick uses a three-note per string idea that's a little more player friendly to
the picking hand. It's a dorian scale which is just a minor scale with a #6
(1,2,b3,4,5,6,b7). It works nicely over any minor chord.

Dorianna Lick # 36
Again we use the dorian mode mixed with the pentatonic minor and including
the flat five to literally grab the listeners attention and develop our picking
abilities at the same time.

Twisty Trippy Lick # 37

This is a classic pentatonic triplet with a twist. The picking is a bit easier than
the previous triplet ideas in that the two triplets executed in the lick are both
played on a single string rather than having to cross-pick a triplet pattern.

Two-String-Thing Lick # 38
In this variation to the triplet, again it's a bit more player friendly in that the
initial triplet also occurs on a single string. This approach makes the picking
aspect much easier to execute in that only the second triplet encompasses two
strings.

Aye Skipper Lick # 39

A bit more challenging triplet with a string skip from string 6 to string 4. The
line creates an interesting 9th arpeggio (1,3,b7,9) in E. The lick goes great with
any major chord.

Skip This Lick Lick # 40

Another great string skipping idea but this involving the 1,2,5,11(4) creating an
interesting add 9, add 11 arpeggio. This lick requires a bit more of a stretch
with the fretting hand but resolves nicely to the 3rd G#.
Trip Ham Pull Lick # 41
This lick is an easy way to create the shred type of sound without having a
sterling picking technique. In fact all you have to pick is the first note of the
triplet phrase then hammer-on and pull-off the remaining notes of the phrase.

Push & Pull Lick # 42

This lick requires more of a legato ability with the fretting hand in that it
utilizes several pull-offs. It creates a flurry of notes without much picking
involvement.

Blue Legato Lick # 43

This cool lick has a Zakk Wylde flavor and is also primarily left hand work. The
first and last notes of the triplet phrase are picked. Add in a little blues
bending for color and wham you've got a reasonably easy lick to shred with.

Dym the Lights Lick # 44

In this legato diminished lick we don't have to pick much but we do have to
stretch and concentrate on precise hammer-ons and pull-offs. The lick is very
dissonant (unstable) sounding so it definitely grabs the listeners attention
before it resolves back to the root D.

It's Phrygian in Here! Lick # 45

This is a really cool legato lick using the D phrygian scale (1,b2,b3,4,5,b6,b7).
It requires fretting hand strength and coordination to execute but creates a
cascade of notes descending before finally resolving to the root D.

Fish Phry Lick # 46

Again using the D phrygian scale and the same fretting hand legato pattern we
shred our way back to the root of the scale (D) but in the lower octave of the
scale.

Heel Slider Lick # 47

I'll never forget the first time I heard Eddie Van Halen do this lick. It absolutely
blew me away! It's reasonably easy to execute with fretting hand pull-offs
coupled with sliding the heel of the picking hand down the string to create a
cascade of natural and artificial harmonics.

Show Off Lick # 48

This is an eye catcher for the audience and an easy way to manipulate an A
minor arpeggio. It uses the picking hand index finger to hold and hammer the
root A on the 3rd string 2nd fret while the fretting wails away the rest of the
arpeggio. Joe Satriani uses this lick to wow his audience.
Tap One Lick # 49
Here is a pretty easier sweep arpeggio coupled with fretting and picking hand
hammer-ons. After the initial sweep-pick the fretting hand hammers and slides
from the root to the 2nd, 3rd, and 4th scale degrees in B (C#,D#,E) then the
picking hand middle and ring fingers hammer-on the 6th,7th, and octave root
(G#,A#,B).

Tappy Trips Lick # 50

Another cool Satriani/Vai idea incorporating a pedal tone (B) with multiple
hammer-ons and pull-offs while descending the fret board. Pretty easy to
execute and a great attention getter and adds a good degree of diversity in
your shredding.

50 Shred Licks You MUST Know Conclusion

Congratulations on movin’ and groovin’ your way through '50 Shred Licks You
Must Know' - was that fun or what? With every lick you learn it’s important you
take whatever path is necessary to make it your own. Play these licks and riff
ideas backwards and then forward again, transpose them, combine them in
your own bag of shred licks, or use them as templates for writing new ones.