Let me be honest before we start: this lick is useless. Not "advanced-jazz-that-only-sounds-useless" useless — genuinely, gloriously, will-not-improve-your-life useless. And yet here I am, having filmed it, written a tab for it, and now typing about it like it matters. That's the guitar for you.
The idea is stupidly simple: take one single pitch and play it in several different places on the neck — same note, different strings. It's a tiny study in fretboard geography, where you discover that the exact same note has a slightly different voice depending on which string you ask to sing it.
How the same-note-different-string trick works
Here's the theory nobody asks for but everybody needs: a pitch like the E above middle C lives in loads of spots on the fretboard — open high E, 5th fret of the B string, 9th fret of the G string, and so on. Same frequency, same note name, but the timbre changes. Thicker strings played higher up sound warmer and rounder; thinner strings played open sound brighter and more glassy. Chaining those "unisons" together lets a single, unmoving pitch shimmer and shift colour as it hops across the neck.
The concrete takeaway: next time a melody note feels dull, don't change the note — change the string. Playing the same pitch a few frets higher on a fatter string can turn a thin, weedy line into something creamy, and it teaches you where every note actually lives. That fretboard-mapping bonus is the real reason to bother — it quietly reinforces the notes on the fretboard while you think you're just messing around.
So yes, it's useless — but it's the kind of useless that accidentally makes you a better player. If you want the tab and Guitar Pro file so you can waste your own afternoon exactly like I wasted mine, they're on my Patreon.