Numbering and Combining Pentatonic and Major Scale Patterns

[DesiSerna]

Bought your e-book long way back.

Trying to show someone else what I've learned and run into problems.

PROBLEM: page 9 you start out showing 'patterns' and emphatically give them 'numbers' from 1 to 5. Great, but I don't see that you keep the patterns you start with.

I go to page 69 and you show major scale patterns and change the numbers around ??? On page 69 the # 1 pattern (within which one can see the E shape) looks suspiciously like pattern "2" on page 9, the beginning, the foundation............... what am i missing?

have held back for months before buying the whole package but these 'conundrums' are humps I can't decipher. If the numbered patterns stayed the same it would be a heck of a lot more sensible, and , easier to explain to someone else.

any and all help appreciated.

Good point. I don't know how and why guitar scale patterns were numbered. I teach what is most common, but I've seen them numbered in different ways. It's important to know that the numbers for the pentatonic and the major scale patterns are not related. Also, the pentatonic and major scale patterns can be combined in several ways (see Fretboard Theory Chapter 7), so trying to match up the numbers is pointless. Eventually, you should learn how everything connects on the fretboard and forget about the numbers.

I hope this helps.

[treecounting]

Thanks Desi,

Tried to reply and lost it; another try. Why not just take the #1 pattern then add to it the notes needed to complete the major scale. Could differentiate by using squares, or blocks, or whatever and 0's for the Pentationic part.

Then, annotate the arpeggio w/ either colors or another shape / shapes. So, you'd end up w/ all you need and still sitting under the original pg 9 designation of 'pattern' 1,2,3,4 or 5. Each would show all the aforementioned information.

Perhaps i'm missing something in terms of root placement or something else. sonn as i get the time I'm going to try and sit down and cobble something together to illustrate what I'm looking for i.e., most information in least amount of space AND, as you like to point out, it might show, by the 'shape' , how they are all so closely tied together within each 'pattern'.

NOT QUESTIONING YOUR KNOWLEDGE BASE !! I think you are very good. The problem, for me, is we have different learning styles.

Don't know how I'll get it in the post, when / if I finish it'; don't know if can 'paste' or 'attach'.

Many Thanks, Treecounting

[DesiSerna]

This is a good way to learn the patterns initially, but don't forget that they can be combined in several ways. What you have here is G major pentatonic and G major scale. But if you were playing in G mixolydian mode, then you'd combine G major pentatonic with C major scale. So pentatonic pattern 1 would fit together with major scale pattern 3 in the open position. Ultimately, how you number the patterns is meaningless. Don't dwell on the numbers too much.

Again, applying scales and combining pentatonic and major scale patterns is covered in Fretboard Theory Chapter 7.