You're going to. Oh, Welcome to the guitar music theory

podcast. I'm Desi Cerna, author of Frontboard Theory, Guitar Picking Mechanics, Guitar Theory for Dummies, and more.

This podcast features free guitar lessons that focus on music theory for guitar, including guitar scales, chords,

progressions, modes, composition techniques,

improvisation, and more.

The lessons are geared toward intermediate level players on up.

You can follow along on either an acoustic or electric guitar.

Bass players can take away a lot from the lessons too. Today's podcast episode is a previous recording in which you learn that when it comes to using the pentatonic scale, it is not necessary to utilize every position or every part of every pattern.

Most guitar players, including some of the most famous ones, narrow their focus to what are sometimes called lead patterns.

This lesson is based on my book Threat Board Theory, volume 2, chapter 6. Hi, I'm Desi Cerna.

In my previous book and DVDs, that would be Freppboard Theory, the first

volume, which is the Red Book, I teach the Pentatonic scale as having five separate patterns.

These patterns cover every position on the neck

and they connect together to make one giant fretboard pattern.

And this method is how many guitar players initially learn the penitonic scale.

But when it comes to actually using the scale to play melodies, riffs, lead guitar solos, and bass lines,

it's not necessary to utilize every single position or every part of every pattern.

Most guitar players, including the most famous ones favor a few particular sections that work well together.

And when viewed together, these sections are what I like to call lead patterns.

Lead patterns make it easy for you to keep track of the root note and a chord, to shift from

position to position, to duplicate licks in different registers.

And they are usually played with just

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