lordscrotum
Verified buyer
02/28/25
Exactly what I‘ve been looking for: challenging but doable. Most of all though, it’s really useful, fun and applicable.
Rock Pentatonic Alchemy
Learn How to Transform Basic Pentatonic Shapes Into Golden Guitar Licks
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About this course
In medieval times, it was believed that you could transform any metal into gold through a process called alchemy. Naturally, that did not happen as planned. But here in Angus Clark’s Rock Pentatonic Alchemy, we guarantee you’ll learn how to transform your simple, basic pentatonic shapes into “golden” rock licks - in any key, anywhere on the neck!
”I’ve structured the course into 6 interactive study sets. Each set of video lessons begins with a unique pentatonic concept, which is then followed by powerful creative applications that we’ll explore together all over the neck.
We’ll then cap off each lesson set with a soloing performance study, over a rock jam track for musical context. I’ll break everything down for you in detail, and you’ll have all of TrueFire’s learning tools to work with as well.”
You’ll learn how to craft “golden” licks from single-octave shapes, elemental fingerings, seamless mixing of major and minor pentatonics, chromatic and modal passing tones, spread fingerings, sequencing patterns, and “lick makers” like bends, hammers, pull-offs, and slides.
Angus will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the performance studies. Plus, you’ll be able to use TrueFire’s learning tools to sync the tab and notation to the video lesson.
You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.
Grab your guitar, and let’s create gold with Angus Clark!
”I’ve structured the course into 6 interactive study sets. Each set of video lessons begins with a unique pentatonic concept, which is then followed by powerful creative applications that we’ll explore together all over the neck.
We’ll then cap off each lesson set with a soloing performance study, over a rock jam track for musical context. I’ll break everything down for you in detail, and you’ll have all of TrueFire’s learning tools to work with as well.”
You’ll learn how to craft “golden” licks from single-octave shapes, elemental fingerings, seamless mixing of major and minor pentatonics, chromatic and modal passing tones, spread fingerings, sequencing patterns, and “lick makers” like bends, hammers, pull-offs, and slides.
Angus will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the performance studies. Plus, you’ll be able to use TrueFire’s learning tools to sync the tab and notation to the video lesson.
You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.
Grab your guitar, and let’s create gold with Angus Clark!
What you'll learn
- Navigate position shifts during blues solos
- Apply the three-fret trick for position movement
- Play fast sixteenth-note licks with proper pocket and feel
- Understand when to use major vs minor pentatonic over chord changes
- Transform basic pentatonic shapes into creative licks
Release date: 05/24/2021 • 1h 48m runtime
Sample lessons
The Golden Box
Concept 1
B in the Shed
Overview
B in the Shed
Performance
B in the Shed
Breakdown
What's included
26 lessons • 12 charts • 6 Jam Tracks
Rock Pentatonic Alchemy
Hi I'm Angus Clark and this course is all about playing great licks using the pentatonic scale in any key, anywhere on the neck. In ancient times it was believed that you could take any metal and transform it into the perfect metal - gold - through a process called alchemy. In this course we're going to perform alchemy on the guitar neck by showing you how to play a perfect pentatonic lick - a golden lick - anywhere on the neck in any key.
A lot of people teach how to use the pentatonic scale in your licks by practicing the scale in positions. We're not gonna do that. We're going to practice single octave shapes by identifying the root wherever we are on the neck. And we're going to build in the "lick makers" to the way we learn these shapes. The lick-makers are the bends, hammers, pull-offs, and most importantly SLIDES, that move us around the neck.
Along the way there are gonna be cool tricks, hot tips, and no shortage of untold secrets on display.
All I need to know from you now is, can you dig it? I knew that you could. Let's get into it.
A lot of people teach how to use the pentatonic scale in your licks by practicing the scale in positions. We're not gonna do that. We're going to practice single octave shapes by identifying the root wherever we are on the neck. And we're going to build in the "lick makers" to the way we learn these shapes. The lick-makers are the bends, hammers, pull-offs, and most importantly SLIDES, that move us around the neck.
Along the way there are gonna be cool tricks, hot tips, and no shortage of untold secrets on display.
All I need to know from you now is, can you dig it? I knew that you could. Let's get into it.
The Golden Box
"The Golden Box" is the first fingering of the minor pentatonic scale, starting with the root played with your first finger on the sixth string.
For many of us, it is the first scale fingering we learn and use as a tool for improvisation. As we grow and progress, many of us want to break out of this box, and while that's understandable, it is not necessary in order to play a Million Dollar Solo on a Gold Record. So let's give this a good look and talk about how to use it to it's full potential.
In this example we are in B minor. The notes in the B minor pentatonic scale are B D E F# A. Using interval names, or the "number system," these notes are Root, b3, 4, 5, b7. The Golden Box in B minor is in the 7th position.
The focus of this lesson is articulation. Pay close attention to the hammer-ons, pull-offs, bends, and slides (or slurs). These articulations are a great way to make the licks you play come alive.
By playing the exercises here, you are building the fundamental skills that will allow you to make your own artistic choices about when to pick, when to hammer on, when to pull off, when to slur, etc.
For many of us, it is the first scale fingering we learn and use as a tool for improvisation. As we grow and progress, many of us want to break out of this box, and while that's understandable, it is not necessary in order to play a Million Dollar Solo on a Gold Record. So let's give this a good look and talk about how to use it to it's full potential.
In this example we are in B minor. The notes in the B minor pentatonic scale are B D E F# A. Using interval names, or the "number system," these notes are Root, b3, 4, 5, b7. The Golden Box in B minor is in the 7th position.
The focus of this lesson is articulation. Pay close attention to the hammer-ons, pull-offs, bends, and slides (or slurs). These articulations are a great way to make the licks you play come alive.
By playing the exercises here, you are building the fundamental skills that will allow you to make your own artistic choices about when to pick, when to hammer on, when to pull off, when to slur, etc.
B in the Shed
This practice study is over a short song form based on a very popular progression in B minor: Bm / G / D / A
There is a turnaround that moves from G to A, and then a B section with a faster harmonic rhythm that goes Bm / D / A / G.
I will be using the B minor pentatonic Golden Box for the entire solo.
There is a turnaround that moves from G to A, and then a B section with a faster harmonic rhythm that goes Bm / D / A / G.
I will be using the B minor pentatonic Golden Box for the entire solo.
B in the Shed
Please take note of how I'm muting the chords during the A section to create a sense of space, and then I play the B section more legato to create a broader sound.
The solo is entirely in the Box, but you will see my hand move a bit, doing what I call "wipes" - whereas I end a note, or when I come back in I let my left hand slide along the strings. This is something a lot of players do, I probably owe my proclivity for it to Hendrix or Clapton.
The solo is entirely in the Box, but you will see my hand move a bit, doing what I call "wipes" - whereas I end a note, or when I come back in I let my left hand slide along the strings. This is something a lot of players do, I probably owe my proclivity for it to Hendrix or Clapton.
B in the Shed
We're focusing on articulations here, so let's start with vibrato. I find that I prefer a vibrato that comes from the left wrist rather than just from the fingers. My vibrato is on the slower side and isn't as wide as some rock players like to go - that's personal taste. The stumbling block for a lot of folks is that you have to let the string return to its original pitch. Please keep this in mind when you practice your vibrato. Otherwise, your playing will sound sharp, and the producer will have someone better than you ghost your playing on your record. Then they'll brag about it on social media and it'll be a big mess.
Other things that get covered here:
The pop up - if you play a lick that ends at the bottom of the scale - pop back up!
The choked bend - but, but, but oh yeah!
Bending licks - I'm bringing the Clapton stuff for you here - cause I like you.
Hammer and pull lick - straight from the exercise into the solo!
Choked descending band - blame Blackmore
Bending - straight from the exercise into the solo!
You're welcome.
Other things that get covered here:
The pop up - if you play a lick that ends at the bottom of the scale - pop back up!
The choked bend - but, but, but oh yeah!
Bending licks - I'm bringing the Clapton stuff for you here - cause I like you.
Hammer and pull lick - straight from the exercise into the solo!
Choked descending band - blame Blackmore
Bending - straight from the exercise into the solo!
You're welcome.
Extend the Box
In this concept we are adding the upper and lower extensions in order to create the "sliding shape" for the minor pentatonic scale. At the same time, we are learning about how to use slides, or slurs, effectively as an articulation. These demonstrations are done in C minor.
On the way down the scale, we slide along the 5th string from the 5 to the 4 using our third finger. On the way up the scale, we slide up along the third string from the 4 to the 5 using our 2nd finger. This opens up some new notes and some new bending opportunities.
Exercises:
Playing the scale using the sliding shape
Bending to pitch from the upper extension
Playing down the scale using bends
On the way down the scale, we slide along the 5th string from the 5 to the 4 using our third finger. On the way up the scale, we slide up along the third string from the 4 to the 5 using our 2nd finger. This opens up some new notes and some new bending opportunities.
Exercises:
Playing the scale using the sliding shape
Bending to pitch from the upper extension
Playing down the scale using bends
C the Dream
This is kind of a Judas Priest inspired vibe in the key of C. Think "Desert Plains" from Point of Entry. And remember, it's always a good idea to go full Watchtower.
+ 19 more lessons
Reviews
16 results
Ben
01/29/23
Pure Gold!
This course is pure “gold”. It brings you from improvising on the 1st minor pentatonic box to moving around the neck and mixing scales in a few lessons. It is a good match both for beginner guitar players, who know just the 1st pentatonic box, and for intermediate players, who want to develope their soloing skills. More advanced players may want to skip one lesson or two (although the solo performances are funny to play for guitarists of each level). The material is consistent and well organized, it starts from the basics (how to build a solo on the 1st pentatonic box), and each lesson brings you a step further (moving to the lower and upper extension, visualizing the single octave shapes throughout the neck, mixing major and minor pentatonic etc.). Before each solo performance, the teacher Angus Clark provides a clear explanation of the concepts he is going to apply, and after the performance he break down the solo to show how he applied such concepts. Before I started the course I believed I have much knowledge and control of the pentatonic scale, nonetheless at the end I felt that I gained much valuable knowledge, and refreshed some concepts that had blurred out in my playing. Totally recommended!
bparham79
11/30/22
Another great course from, Angus Clark!
I've been working through this course for the past two months, and it's taken my pentatonic playing to an entirely new level! Angus Clark rocks, and you will rock too after working through this course.
progfan2
Verified buyer
01/12/22
Rock Pentatonic Alchemy
Another quality course from Angus. If you are looking to expand beyond the standard pentatonic box in a rock setting, this is a good course to check out.
tomac
Verified buyer
12/30/21
My first step with pentatonic. Super
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