You've done a great book, but when I was working through the blues section I noticed something which might be improved upon. You show the blues notes
in the first pentatonic shape in the Em, Fm, Gm and Am positions (on page 16). I thought that in future editions you might be willing to show the blues notes in all of the pentatonic shapes, i.e. the diagrams on page 9 but with the blues notes added to them. This didnt cause a problem, I just found the positions myself on a chord generator website. Other than this, the book is pretty much perfect
This brings up a good point. In Fretboard Theory I purposely didn't illustrate all of the possible blues scale pentatonic patterns for a reason. It's possible to focus too much on technical things and miss the practical applications.
As stated in the book, the blues scale is really just a musical idea that stems from adding chromatic passing tones to bridge the gaps between the scale intervals. So if you really want to cover all your bases, I guess you should memorize the pentatonic patterns with every possible gap filled. In case you haven't already drawn this conclusion, that would be every note on the whole fretboard! This is not going to help you.
Instead, focus on memorizing the core five pentatonic scale patterns. Then learn how to play melodies, riffs, lead solos and bass lines that are based in the scale. Finally, consider the addition of extra notes and study songs that incorporate the technique. You'll learn how the patterns change as you go. And most importantly, you'll understand the practical application of the blues scale which is worth far more than more patterns!
