1.

Song 1 is in D minor and Mateus primarily uses a mixture of minor pentatonic (

D F G A C) and Aeolian (D E F G A Bb C). This lick also has a lot of double stop
s, but note how he works around partial chord shapes that fit the underlying cho
rd progression.
2.For melodic variation, Mateus uses Dorian mode (D E F G A B C) over the Dsus2
chord. Try experimenting with this scale as an alternative, but remember that it
won't work over the Bb and Gm chords later in the song.
3.This one
the first
A C D E G)
r a bluesy

starts with some wide intervals and then some more double stops. Then
really fast passage starts; this is based around A minor pentatonic (
which is a subset of D Aeolian. Mateus also adds the flat 5th (Eb) fo
sound.

4.Lots of bends and slides here... try to combine everything as smoothly as poss
ible
5.This lick starts with an ascending Dm9 arpeggio and and descending Fmaj7 arpeg
gio, BUT we're playing over Bbmaj7, so the resulting sound is a kind of Bbmaj13#
11... all the notes of Bb Lydian (Bb C D E F G A).
6.This slippery line is almost entirely minor pentatonic (D F G A C) with the ad
ded flat 5th (Ab).
7.More huge arpeggios! However, this one doesn't just go straight up and down, s
o take care with the combination of picking and legato. It's basically a Dm7 arp
eggio, but with a lot of minor pentatonic scale fragments as well.
8.More slides and bends... you might like to work on this and Lick 4 together. S
ome of the grace-note slides are quite long, so take time to practice hitting th
e target note accurately.
[*Grace-note: a quick note that decorates the beginning of another note, but has
no actual rhythmic value. Those tiny notes in the Tab.]
9.More slides and bends... you might like to work on this and Lick 4 together. S
ome of the grace-note slides are quite long, so take time to practice hitting th
e target note accurately.
[*Grace-note: a quick note that decorates the beginning of another note, but has
no actual rhythmic value. Those tiny notes in the Tab.]
10.This lick features descending sequences from D minor pentatonic (D F G A C) a
nd then an ascending Aeolian (D E F G A Bb C) line.
11.For the second song, we move to the key of G minor, and Mateus is mostly usin
g a mixture of minor pentatonic (G Bb C D F) and Aeolian (G A Bb C D Eb F). This
lick is perfect for playing without a pick... can you use a clean, bright singl
e-coil sound and keep everything smooth, with consistent volume?
12.This lick starts with an ascending Ebmaj9 arpeggio (with an added A note) and
then descends through the G blues scale (G Bb C Db D F). Over the F chord, Mate
us then plays a sequenced F major arpeggio, which then becomes a kind of F7 arpe
ggio.
13.Speed test... here's a fast pentatonic line to work on your alternate picking
. You might find that lines like this, with two notes per string, are harder tha
n the usual three-note-per-string scales.
14.If you're not confident with the really difficult licks in this package, Lick

14 would make a good "half-way house". There's just one short burst of speed, a
nd then some very tasteful double stops.
15.In this lick, Mateus works with the theme of three-note pull-off patterns, wh
ere the lowest note is an open string. The simplest version of this is on the fi
rst beat, and then there's a more complex sequence over the C chord. This works
very well with hybrid (pick and fingers) picking, or just use your fingers only.
16.Is this the scariest lick in the whole package? This
atonic (G Bb C D F), switches to Aeolian (G A Bb C D Eb
atic notes. Then it descends through the blues scale (G
nding again through a Gm7 arpeggio. Finally the last Bb
with a bend to C over the C chord.

starts off in minor pent

F) with some added chrom
Bb C Db D F) before asce
of the arpeggio resolves

17.Here's another of those great arpeggios. It starts as a kind of Bbmaj7, which

then becomes Ebmaj7 and then a descending G Aeolian line. The underlying chord
is Ebmaj7, so the overall sound is Lydian.
18.As in Lick 17, Mateus starts by superimposing a Bbmaj7 arpeggio over the Ebma
j7 chord, resulting in a clear Eb Lydian sound. He then plays some slide/bend co
mbinations, ending with a nice sequenced G minor pentatonic descent.
19.Here's another one for players who find the faster licks too daunting. This i
s all about accurate position shifts, either with slides or without.
20.We end as we started, with a wide range of double stops, intelligently arrang
ed to fit the underlying chord progression. For the sliding double stops in meas
ure 2, your fingers will sometimes slide different amounts... from a 2-fret gap
to a 1-fret gap. Also, you'll need to quickly change fingers (from 1+3 to 2+3) w
hen you do the last slide in measure 2. This means you can then hit the 11 with
your first finger in measure 3.