Table Of Contents

The Pentatonic Connection - Jamming 3

Discussion on Pentatonic Scale - Practice in Minor 6
Discussion on Pentatonic Scale - Practice in Major 11
Practicing Pentatonic with Metronome 14
Visualisation of the Pattern 20

The Diatonic Connection - Jamming 21

Expanding the Pentatonic to Diatonic Scale 26
Learn to Connecting Positions - No.6 to No.7 31
Learn to Connecting - Position No. 2 33
Importance Of Visualizing Your Fretboard 34

2 GuitarZoom © 2021
 The Pentatonic Connection - Jamming
Steve Stine


                    
q. = 56
   slide 6
  

trill

    
 
E. Gtr. 3
slide trill
3


3 6 6 6 8 6
5 6 5 5 3 5 7 7 7 7 7 7
3 5 5 3

               

 
3

              
  

5 3
3 1/2 3
3 3 6 3 3


3 3 5 5 6 3 3 3 6
3 4 5 5 6 5 3 5 3 3 5 5 5
3 5 5

     6            3       


    
5

   


3 3 3 3
1/4 1/4 1/4

10


11 13
5 5 3 5 3 3 3 3 5 7 5 10 10 12
5 5 5 3 3 3 5 8 5 8 10 12 12
5 8 10

   
                  
 
7  
      
  full
3
full 3/4 3/4


13 13 15 11 13 13.5 13 11 11 13 18 20 18.5 18.5
12 12 12



      
         
9
 
 

3 3 3 3


20 15 18 15 13 13 15 11
17 17 17 15 12 15 12 10
12 10

GuitarZoom © 2021 3
           5:4
  
2
10
              5:4
  
  
9:6 9:6

13 13


13 14 1415 15 13 13 14 13 13 11
12 15 15 15 15 12 10 12 12 10


         
   
11    
  


9:6
full 1/4

15 20 18 18


18
13 15 15
12 15


                       
     
     
12

  

 
3 3 3 3 3
full 1/4 1/4


18 18 15
18 17 15 17 15 1817 17 17 17 15 17 15 15
17 17 17 17 15 17 15 15 17
17


  

    
   
   
9



14

     
1/4
 


13 15 6 6
15 10 12 15 15 12 7 7
15 12 10

              


16 4 9

         
             


w/bar 1/4


6 8 6 6 5 3
7 5 3 3 4 5 7 5 5 3 4 3


5 5 3 5 3 3 3 5 5 5 3
5 5 3 3 3

w/bar

4 GuitarZoom © 2021
    
3
          

 
18 4 9

             
     
     
 3 6 5 3
5


3 6 3 6 6 8
3 2 3 5 6 5 3 5 3 4 5 7 7
3 3 5 5 5 5 5 3


1 3 5 5


3 1

   
20
       
                
    

  
6 3
8 5 1/2 1/4


8 6 1113 1113 11 13 13 11 8
7 6 5 10 10 12 12 10
8 5 8 9 10 12 12 12 10 10

                                  
8 10 10 8


 


22


 13 
3
full full full full full full full full full full full

13 13 13 13 13 13 13 13 13


13 13 13 13 13 13 13 13 13 13 13 13 11 11 13
12


           
 
23            


3 7 3
full

13 10 13 15 13 13 13


13
15 15 13 13 14 15 15 13 13 14 13
15 15

 
                     
 
  
24

  
3 3 3 3  3


13 13 15 13 13 14 17 14 15
15 15 15 15 12 15 12 15 15 14 16 16 14 14 15 16
15 16

           4
          

26

  
full 10 full full

15 15


15 18 18 15
18 17 15 17 15 17 17
17 17

GuitarZoom © 2021 5
 Discussion On Pentatonic Scale - Practice In Minor
Steve Stine

1st position of A minor pentatonic scale (think about shape, not frets)
   
1'30''

   
    
 
E. Gtr.
5 8


5 8
5 7
5 7
5 7
5 8

A D
3'12''

                                

            
     





 



 



 
                    
           
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2


2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

    
Slide from

       

nowhere

             
       
    Slide from
nowhere
1/4

0 0 0 0 0 0 0 0


2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 5 5
2 2 2 2 2 2 2 2 5 7 5
0 0 0 0 0 0 0 0 7 7

  
                     


 1/4 1/4 1/4



7 5
5 7 7 5 7 5 5 5
7 7 5 7 7 5 7
0 7

6 GuitarZoom © 2021
 2
The root notes of A minor pentatonic on 1st position
 
5'50''

  

5


2 2

    
6'04''

           
     



8 5
7 5 5
7 5 5 7 7 5 5 7
5 7 7 7

2nd position of A minor pentatonic scale


10'00''
  
  
    
 

8 10


8 10
7 9
7 10
7 10
8 10

   
11'09'' An example how to connect 1st & 2nd position
   
  
   

10 8 5


8 10 8 8 5 8 10 8
5 7 9 9 7 5
5 7 7 10 7 5 5 7 10
7 5 7


  
12'12'' gradually accelerating

  
            
     
8


10 8
9 7 5
7 5 7 10 7 5 7 5 5
7 5 7 10 7 5 7
8 5

GuitarZoom © 2021 7
 
3

  
                 


5 7 9 7 5 7
7 10 7 5 7 7 5 5
7 7 5

3rd position of A minor pentatonic scale



13'32''
  
  
    


10 12


10 13
9 12
10 12
10 12
10 12

The root notes of A minor pentatonic on 2nd & 3rd position

  
14'10''

  
1st position 2nd position


10 10
7
12

 
                   
An example how to connect 1st, 2nd & 3rd position (meandering)
14'37''

  
   
 5 8 10 8
 


5 8 10 10 13 10
7 5 5 7 12 9
7 12 10 10
12 12 10 12 12

 

15'25'' 4th position of A minor pentatonic scale
  
   
   
12 15


13 15
12 14
12 14
12 15
12 15

8 GuitarZoom © 2021
 4

An example how to connect 1st, 2nd, 3rd & 4th position (meandering)

     
  
 
16'25''
           
            
  
12 10


13 10 8
12 14 12 9 5 7 9 9 7 12 12 14
7 5 10 12 10 12 14 14
12 10

  

16'48'' 5th position of A minor pentatonic scale
  
  
   

15 17


15 17
14 17
14 17
15 17
15 17

An example how to connect 1st, 5th, 4th & 3rd position

            
in D minor pentatonic (meandering)

      
18'50''
 

 


1st
10 5th 8


10 13 13 13 10 10 8 10
12 12 10 12 10 10 12 13 12 10 12 10 10 7 10
12 10 12 12 10 12

          
              
   
          
 4th  3rd  
 5
 


10 8 8 6 8 6 6
10 10 7 7 10 7 5 7 7 7 5 7 5 5 2 2
10 7 5 5 3 5 3 3
5 3 5 5
5

The root notes of A minor pentatonic on all positions 

     
19'35''

     
1st
 2nd 3rd 4th 5th
5 17


10 10
14 14
7 7
12 12
5 17

GuitarZoom © 2021 9
 An example of meandering between 1st, 2nd, 3rd & 4th 5


20'50'' position in A minor pentatonic
              
     


9 12 9 7 5 7 8 7 5 7
10 12 7 5 7 7 5
10 12 7

 
             
  
      
 
  
 8 10 8 10 12 10 13
1/2


5 7 9 1214 14 12 9 14 12
5 7
5 3 5 7

The root notes of G minor pentatonic on all positions 


21'11''
    
     
1st
 2nd 3rd 4th 5th
3 15


8 8
12 12
5 5
10 10
3 15

10 GuitarZoom © 2021
 Discussion On Pentatonic Scale - Practice In Major
Steve Stine

A Major pentatonic (same shape as A minor but 3 frets down, emphasizing A note)
      
1'35''

       
  
         
E. Gtr.
root note
2 5 2


2 5 5 2
2 4 4 2
2 4 4 2
2 4 4 2
2 5 5 2 5


F# minor pentatonic (relative key, emphasizing F# note)
      
5'10''

      

       
   
2 5 2


2 5 5 2
2 4 4 2
2 4 4 2
2 4 4 2
2 5 5 2 5

An example in C Major pentatonic

C G6 A‹

       
7'22''

      
              
      
  
         
         
C G6 A‹
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0


1 1 1 1 1 1 3 3 3 3 3 3 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0

  
       
     



5 7 5
5 7 7 5
5 7 7 5
5 5 8 8

GuitarZoom © 2021 11
 2


An example in D Major pentatonic

8'03''

   
             
     

3
1/2


7 7 7 9 9 7
7 9 7 7 9 9 7 9
7 9 9 9 9 7 7
7 10 10 10 7

             

          
3
 
  

10 7 7
9 7 9 10 9 7 9 7
9 9 7 7
9 9 7 7
10 10

  
An example in G minor pentatonic



9'50''

 
6

        
     
   
1st position
 3
3 6 3


3 6 6 3 6 3
3 5 7 3 5 3 3 5
3 5 3 5 5 3 5
3 5
3 6

       3 
              
 

3 5 2nd position


6 3 3
5 6 5 3 5 3 3
5 5 3 3 5 5 5
5
6 8

                
 
3

          

3 3

6 8 6


6 8 8 6 8 6 6
5 7 7 7 6 5
5 8 8 5 5
5 8 8 8

12 GuitarZoom © 2021
                 
3

        
       
 


3rd position 5 3
8 10 8 8


8 10
8 11 11 11 8 8
7 10 10 10 7 10 7
8 10 10 10 8 8 10
8 10 10 10 8
8 10

     
             
... with meandering

           
        

3 6 8 6 10 13 15 13


3 6 8 6 8 8 11 8 6 8 11 13 11 15 13 13
10 7 10 7 15 15
8 10 10 8 10 12

    

    

 

1/4 


12 15 17 17 15 17 17
15 17

GuitarZoom © 2021 13
 Practicing Pentatonic With Metronome
Steve Stine
q=120

 
Exercise No. 1, A minor pentatonic, 1st position

1'06''

    
       
E. Gtr.
 


5 8
5 7 5 5
5 7 7 5
7 5

*Play staccato all exercise


    
      
  

8 5 5


5 8 8 5
5 7 5 7 7
7
7

q=120

     
Exercise No. 2, A minor pentatonic, 1st & 2nd positions
    
    
1'45''

 
     
 
8 8


5 8 10 8 5 8 8 10
5 7 7 9 5 7 5 9
7 5 10 7

*Play staccato all exercise


         
      
10 5


8 5
7 5
7 5 10 7 7 5
10 7 5 7

        
 
      


8 10 5
5 7 9 7 5
5 7 10 7 5 7
7 10

14 GuitarZoom © 2021
 2
q=120
  
  
Exercise No. 3, A minor pentatonic, all positions
    
            
2'38''


 
5 12 10 15


8 3 5 3 8 13 10
5 2 5 7 14 12 12 9 12
5 14

*Play staccato all exercise

 
      
       
  

8 15


8 8 10 5
12 7 5 7 9 7 5
10 7 5 5
7

   
  
    
  
  
12 17 20 22 17


13 20 13
14 17 12 7 2
10 5

q=160
   
Exercise No. 4, A minor pentatonic, all positions
     
3'43''
          
  
 
5 8 10 12 15


5 8 8 5 3 8 10
7 5 2 5 7 9
5 7 7 7

*Play staccato all exercise

 

         
        
12


13 15
17 14 12 9 12 7 7 5
7 5 10 7 7 5
10 7 5

GuitarZoom © 2021 15
 3

  
 
    
       


5 8


8 5 5 8
7 5 2 5 7
5 7 5 2 5
3

q=200
Exercise No. 5, A minor pentatonic, all positions

4'19''
       
  
           

 
8 5


8 5 8 10 8 5
7 5 7 5 2 5
5 5 7 10 7 10 12
12
*Play staccato all exercise

  
          
      

15 12 10


13 10 13 15 13 8
9 12 12 14 12 9 12 7 5 7 9

       
     
     
8 5


8 8 8 5
9 7 5 2 5 2 5 9
5 2 7

q=200
Exercise No. 6, A minor pentatonic, all positions (without staccato)
           
4'42''

           
5 8


8 10 8 8 5 5
9 7 5 5 7 5 7
7 10 7 5 7 5
7
*Play without staccato

16 GuitarZoom © 2021
     
 
4

    
   
   
15 12 12


8 13 13 15
5 2 5 7 5 14 12 12
7 5 2


  
           
   
10 8


13 8 8 10
12 14 9 12 7 7 5 7
10 7 7
10

q=100
Exercise No. 7, A minor pentatonic, all positions
     
5'39''
  
    


8 5 5 3


5 8 8 10 8 5 8 3 5 3
5 7 7 5 7 5 2 5 2 5 7 5
5 7

*Play without staccato


   
    
 
 

12 15 17 15 20 17


13 15 13 13 17 15 17 20 20
9 7 12 9 12 14
10 7 10 12 10 12 14

q=120


Exercise No. 8, A minor pentatonic, all positions
 
6'06''
         
       

8 5


8 8 10 8 5 8 5 3
5 9 7 5 7 5
7 5
5 7

GuitarZoom © 2021 17
 5

    
   
         

3 5


5 3
2 5 2 5 5 7
5 2 7 7 5

q=120 Exercise No. 9, A minor pentatonic, all positions

       

8'28'' with breaking meandering elements into phrases
         
   
 5 8 5 


5 8 8 8 5 8 5 5
5 7 7 7 5 5 2
7 5

          

        
 
         
  8
 12 10
10 12 10


5 8 8 10 13 15 13
5 7 14 12
2 5 7 5 7

   
   
   

   
       
 
 
12 15 15 15 15 12


13 15 13 15 13 15
12 14 12 12 14
14 12 10 12 14

Exercise No. 10, A minor pentatonic, all positions

   
q=120 with breaking meandering elements into phrases 2

     
9'56''

                   
  
 5
1/4
 1/2


8 10 10 13 5 8 8
7 7 5 7 9 9 7 5
7 7 5
5 7 7

18 GuitarZoom © 2021
        
 
6
  


    
  
 15
full

8 10 12 10 12 15 12 12


15
8 8 10
5 7 9 9
7 5


     
    


          
 12
full


15 17 15 13 15
14 14 12
14 12 10 10
12 10 12 12

GuitarZoom © 2021 19
 Visualization of The Patterns
Steve Stine

There are a group of three 1-3, and group of two 1-4 fingering patterns. The root note is on the
beginning of the group two 1-4, and in the middle of the group of three 1-3, as in the further examples.

A minor pentatonic, 1st positions A minor pentatonic, 2nd positions

         (  )
       
    
E. Gtr.
root root
mirror of 6th (8 10)


5 8 8 10
5 7 7 9
5 7 7 10
5 7 7 10
5 8 8 10

1-4 1-3 1-4 1-3 1-4 1-3

A minor pentatonic, 4th positions A minor pentatonic, 3rd positions

        

         
 

root root root root

mirror of 6th


13 15 10 13
12 14 9 12
12 14 10 12
12 15 10 12
12 15 10 12

1-4 1-3 1-3 1-4

20 GuitarZoom © 2021
 The Diatonic Connection - Jamming
Steve Stine

     
q=100
  




                    
E. Gtr. 6 6



5 5
3 3 3 5 5 5 3 3
3 5 5 5 3 3 3 5
5 3 5


      
*arc on the underside of the number linking the two notes into one note

            
    
3

     

      

1/2 1/4


3 6 6 6 6 8 11 3 6 6
0 3 4 7 5 6 5 3 5 3 3 3 3
5 3 5 5 3 3 3
5 5

         
     
   

7 

        
 
  full

15
1/2 full



18 15 18 18
3 17 17 15 17 17 17 15 15 15
4 5 5 3 17
5 3 1

    
        
        
    
10 *slide from nowhere

   

11
*slide from nowhere 
10 13 13 14 15 14 13 13


11 12 13 11 13 14 15 15
15 10 11 12 12 10
12

           *slide    

             
into nowhere
12
    
 

 
11 7
*slide into nowhere 1/2


13 14 15 14 13 13 11 10 11 13 11 10 11 11 10
14 15 15 15 12 12 12 10 12 12 10 10 12
12

*fret in brackets actually indicate pitch, not fret

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21
              
    
 
2
15

  
1/2
3 5 6
full 1/2

17 18 15 17 18 17 15 15


17
18 18 17 15 17 17 17 15 15
12 17

               
        
17

       


6 6 7 7

15


15 17 18 17 15 15 17 18 18 17 15
15 17 18 18 18 17 15
17 16 15
17 15 15 13
15 15

  
 

    
19

       

full 5
5
10 8 6 5 8 3


8
6 6 8 6 6 6 5 3 5 6 5 3
5 5 5 5 5 7 5 5 3 5 6 6 5 3 2


15

  
           
 
              

22
   
 
 
w/bar 6 7 w/bar
5
1/4

10 13 13 13


10 11 10 10 11 13


2 1.5 3 5 6 5 3 5 3 5 3 3 10 12 12


3

      3

 
 
          
w/bar w/bar
25

        
   
w/bar 

  
5 5 5 3 3
3
10 11 10 11 10 8 8


10 11 11 11 10 8 10 8


11 10 8 7 7 8 5 7 8 7 5 3 5 5 3 3
7 5 5

w/bar

                 

28

7

             


3 5 full 7
3 3


6 8 6 6 3 6 6 3 3
7 7 6 5 3 5 6 6 5 3 5 3 4
5 5 5 3 5 5

4
22 GuitarZoom © 2021
             
3
 
31 6

    
6
       
6 6
  3
full

6 3 3 3


6 6 3 6 3 3 3 3 6 8 8
5 5 3 5 3 5
5 3 5 3 5 3
5 3 5 3


     
           
      
33 3

    
3 3 6 5
1/2 3 full full

8 6 8 6 8 9 8 6 8 6 15


8
8 8 8 15 15 18
15 17
17


       
 

  


35

      
full

13 14 15 14 13


13 14 15 15 14 13 13
12 12 11 10 10 12 12
12 11 10 10 11 12 12 10
12 10 12

                 
      
37
   

3 3 3
1/2

13 13 13 15 13 13 12 10


15 13 11 13 10 11 10 11 11 11 11 11

                                   
40


6 6 6


13 11 10 11 10 10
12 12 12 10 10 10 12 12 10 12 10 9 10 9 7 9 7 5 7 5 7 9 7 5
12 12

*play with left-hand only, on third string.

GuitarZoom © 2021 5
23
 4

                    
   
42

    

6 6
full

3 3 3


3 6 6 3
5 7 5 3 3 3 5 7 5 5
5 5

                          

44


full full full full full full full full full full full

3 3 3 3 3 3 3 3 3 3


3 3 3 3 3 3 3 3 3 3 6 3
5 5 5 5 5 5 5 5 5 5 5

    
46
             
   
11

        
    

7

3 6 5 3 5 3 3 5 6 8


3 3 3 5 6 6 5 6
5 5 3 5 3 3 5 6 6 5
5 5 5 3 5 3
5 3 5 3 1 3 3

   
                               
3
48



    5 3 6 6 6
full
full

8 10 11 13 15 11 11 13 13 13 13 13 13 13 13


13
13 13 11 13 15 15 15 15 15 15 15 15 13 11 11 13
12

*play with left-hand only, on first string (use volume knob).

               
     
51

 
15


15 15 17 18 18 17 15
12 15 17 18 18 17 15 17 18 18 17
17

6
24 GuitarZoom © 2021
   6  
  
5
52         
   


17 14 17 18
15 17 15 17 1817 15 17 1817

                       
 
53


6 6 6 6
15 15 15 15


18 17 15 17 18 18 17 15 17 18 18 17 15 17 18 18 17 15 17 18

                       
 
54


6 6 6 6

15 15 15 15


18 17 15 17 18 18 17 15 17 18 18 17 15 17 18 18 17 15 17 18

 
 
                       
      
 
55 



 15 17 18 
6 6 6 6 3 3 full w/bar
full

15 15 15 15 20 18 20


20
18 17 15 17 18 18 17 15 17 18 18 17 15 17 18 18 17 15 17 18 18


  
w/bar

  
    
           
58

 

18 20 18 17 20


18 18
17 17 17 15 15 14 14 12 12 10 10 9 9 7 7 5
17 15 14 12 10 8 7

         
60

   
     

6


6 6 8 8 6 8 8 6 6
5 3 3 5 7 7 7 7 5 5
5 5 3

GuitarZoom © 2021 7
25
 Expanding Pentatonic to Diatonic Scale
Steve Stine

        
3'02'' 1 A minor pentatonic

 
        
  
E. Gtr.   
5 8 8 5


5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5

       
A Major pentatonic (same shape as A minor but 3 frets down, emphasize A note)

 

        
  
  
2 5 2


2 5 5 2
2 4 4 2
2 4 4 2
2 4 4 2
5 5 2 5


A Major pentatonic is skeleton of diatonic A Major diatonic scale with two added notes (red boxes)

       
      
4th note 7th note


2 1 2
2 4 2 4
2 4 2 4 5
5 5

     
Two octave A Major diatonic

    
      
2 4 5 4


2 3 5
1 2 4
2 4
2 4 5
5

 
* Red notes are root notes


Expanding on the 6th string

     
       
2


5 3 2
4 2 1
4 2
5 4 2
5 4 2

8
26 GuitarZoom © 2021
 2


2 A minor diatonic scale
 
7'57''

    
  
      
5 7


5 6 8
4 5 7
5 7
5 7 8
5 7 8


   
   
     
   
8 7 5


8 6 5
7 5 4
7 5
8 7 5
8 7 5

        
A minor pentatonic scale

     

       
 
5 8 8 5


5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5


A minor pentatonic as a skeleton of diatonic A minor diatonic scale with two added notes (red boxes)

       
      
6th note
2nd note


5 7 5 7
5 7 5 7 8
5 8 5 7 8


3 F minor pentatonic scale
  
14'00''

          
      
       
1 4 1


1 4 4 1
1 3 3 1
1 3 3 1
1 3 3 1
1 4 4 1

GuitarZoom © 2021 9
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 3

  
F minor diatonic scale

       
   
   
1 3


1 2 4
0 1 3
1 3
1 3 4
1 3 4
* Red notes are root notes, blue notes are those that are missing in the pentatonic.

       
      
   

4 3 1


4 2 1
3 1 0
3 1
4 3 1
4 3 1

                        
18'25'' F minor diatonic scale, three notes per string (4 strings)


            
      
      
                       


1 3 5 5 3 1
1 3 5 5 3 1
1 3 4 4 3 1
1 3 4 4 3 1


18'42''

                      
      


1 1 3 1 3 5 3 1
1 3 5 3 5 5 5 3 1 3 5 3 1
4 3 1 3 4 3 1
4 3 1


                                  
  


1 3 5 1 3 5 1 3 5 1 3 5 1 3 5 3 1
1 3 5 1 3 5 1 3 5 1 3 5 1 3 5 5 3 1
4 3 1
4 3 1

10
28 GuitarZoom © 2021
 4


F minor diatonic scale, three notes per string (all 6 strings)
 
       
   
   
3


2 4 6
1 3 5
1 3 5
1 3 4
1 3 4

          
      
     
 
4 6 4 3


6 4 2
5 3 1
5 3 1
4 3 1
4 3 1


19'48'' An example of using F minor pentatonic

       
         
1/4
 1/2


1 3 3 3 3 3 1
1 3 3 1 3 3 1 3

                
An example of using F minor diatonic

 
              
3 4 6 4 3 4 6 4 3


2 4 6 6 4 2
1 3 5 3 1 3 5 5 3 1 3

     
An example of shifting between F minor pentatonic and diatonic
20'29''
  
         


3


1 4 4 1 1 4 1 2 4 6
3 3 1 3

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 ° œ b œ œ œ bœ œ œ œ bœ bœ œ
3 3 3 3

& J bœ œ bœ bœ bœ œfij œ bœ œfij œ œ œ œ œbœ œ œ œ

3 3 3 3
full full

3 4 3 3

¢⁄
6 4 6 6 4 2 2 4 1
5 3 5 3 1 3 3 3 1 3 1
3 1 3

° b œ b œ œ œ œ œ œ œ œ b œ b œ œ œ œ œ œ œ b œ bœ œ œ œ
2nd example of using F minor diatonic
21'50''

& bœ b œ

6 4 3 3 4 3 3 3

¢⁄
6 6 6 4 2 4 6 6 6 4 2 2
5 5 3 1

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
2nd example of using F minor pentatonic

° b œ b œ œ œ œ bœ œ œ œ
& bœ œ œ b œ œ œ œ œ bœ b œ œ

6 4 4
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
¢⁄
6 6 4 1 4 1 1
3 3 1 3 1 3
3 3 1

° œ
An example of A minor diatonic, three notes per string
œ
22'57''

œ œ œ œ œ
& œ œ nœ œ
nœ nœ œ œ nœ
7

¢⁄
6 8 10
5 7 9
5 7 9
5 7 8
5 7 8

° œ
œ œ œ œ
œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
8 10 8 7

¢⁄
10 8 6
9 7 5
9 7 5
8 7 5
8 7 5

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30 GuitarZoom © 2021
 Learn to Connecting Positions - No.6 to No.7

Steve Stine


7th position of F minor diatonic scale (or Ab Major)
       
  
   
   
E. Gtr.
4


4 6 8
3 5 6
3 5 6
3 4 6
3 4 6

same patterns/fingerings

 
   
       
       
 
6 8 6 4


8 6 4
6 5 3
6 5 3
6 4 3
6 4 3


1st position - Ab Major diatonic scale
   
       
     
6


6 8 9
5 6 8
5 6 8
4 6 8
4 6 8

same patterns/fingerings

 
   
    
     
    
8 9 8 6


9 8 6
8 6 5
8 6 5
8 6 4
8 6 4

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 2

An example of connecting 1st and 7th & 6th positions

        
3'42''
               
5

        
 


1 2 4 4
1 5 8 6 5 5 6 5 5 3 1 3 1 1 3 5 5 3 1 3 1
5 8 8 1 3 3

  
 
       
  
6


5 8 6 5 5
6 8 8 6 3
6

3rd position of pentatonic connected to 1st position of diatonic


  
            
     
     
6 8 6


6 9 9 6
5 8 8 5
6 8 8 6
6 8 8 6
6 8 8 6

14
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 Learn to Connecting - Position No. 2
Steve Stine

    
2nd position of Ab Major diatonic scale
      
        
 
E. Gtr.


8 9 11
6 8 10
6 8 10
6 8 10
6 8 9

     
    
    
     

9 11 9 8


11 9 8
10 8 6
10 8 6
10 8 6
9 8 6


3rd position of Ab Major diatonic scale
    
   
    
  
9


9 11 13
8 10 12
8 10 11
8 10 11
8 9 11

     
      
    
  
11 13 11 9


13 11 9
12 10 8
11 10 8
11 10 8
11 9 8

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 Importance Of Visualizing Your Fretboard
Steve Stine

q = 120

 
1'00'' 6th position of Ab Major diatonic scale (or F minor)
   
                  
E. Gtr.


2 4 6 4 2
1 3 5 1 3 1 3 5 5 3 1 1 3 1
3 3

                  
 
         

3 4 6 4 3


2 4 6 4 6 4 2
3 1 1 3 5 5 3 1 3 1
3 3

                       
... now switch to F minor pentatonic, 1st & 2nd positions
      
 

4 1 4 6 4 4


4 1 1 4 1 4 6 6 4 1 4 1 4 6 6 4
3 3 3 5 3 1


... now meandering between diatonic and pentatonic

      
           
     

4 6 4 3


4 6 4 6 4 2 1 2 4 2 1 1 2
1 3 5 3 3 5 3 1 1 3 3 3 1
3 3

16
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 2


... again pentatonic ... again diatonic

                     
            
3


2 4 6 4 6 4 2 1 1 4 1
3 5 3 3 3 1 3 1 1 3 1 3 5 3
3 3 1 3 6 5


         
                        


3 3 3 1
5 6 5 6 6 5 3 1 3 1 3 4 4 3 4 1 3
4 3 1 3 4 3 4 6

q = 120


2'09'' F minor diatonic & pentatonic once again

                

      


1 3 1 3 5 3 5 3 1 1 3 1
1 3 3 1 0 3 1
3 4 6 4 3 1 3 1 3
4 3 1 4

  
               
        



4 2 4 2
1 3 5 3 5 5 5 3 1
3 1 3 3 1 3 6 5 3 3
6 4 3 1 4 3 1
3 4 1

q = 120


A minor diatonic & pentatonic
  
2'42''

      
  

5 8 5 7


5 8 8 8 5 5 6 8 6 10
5 7 7 5 5 7 5
5 7 7 5 5 7
5 7 7
5 8

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  
3
   
     
   
          


8 10 8 7


10 8
10 9 7 5
10 9 7 5
8 7 5 8 10 8 7 8 7
10 8

      
               



5 5 7 5 4 2 4 2 5 4 4 5
5 7 5 4 5 7 5 2 2 3 5 7 7
7 7 5 5 7
7 5

Fingering patterns:
circulation of three spreads, two 1-2-4 & two 1-3-4 (+one missing),
an example on G major diatonic scale

     
2'09''

 
1st position

   
      

5 7 8


5 7 8
4 5 7
4 5 7
3 5 7
3 5 7

      
   
2nd position

   
    
7 8 10


7 8 10
5 7 9
5 7 9
5 7 9
5 7 8

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 A Minor Pentatonic scale (without red dots) / Diatonic scale (with red dots)

F Minor Pentatonic scale (without red dots) / Diatonic scale (with red dots)

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 Ab Major Diatonic Scale (three-notes-per-string patterns) all 7 positions

20
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 G Major (diatonic) scale, all 7 positions

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 Progress Tracker
Unlock the Fretboard Date
The Pentatonic Connection - Jamming / /
Discussion on Pentatonic Scale - Practice in Minor / /
Discussion on Pentatonic Scale - Practice in Major / /
Practicing Pentatonic with Metronome / /
Visualisation of the Pattern / /
The Diatonic Connection - Jamming / /
Expanding the Pentatonic to Diatonic Scale / /
Learn to Connecting Positions - No.6 to No.7 / /
Learn to Connecting - Position No. 2 / /
Importance Of Visualizing Your Fretboard / /

40 GuitarZoom © 2021