Extended Pentatonic Scale Pattern

If you play guitar and enjoy improvising, you’ve probably come across the pentatonic scale. It’s one of the first scales I learned and still one of my favorites because of how versatile it is. Once I started using the extended pentatonic scale pattern, my solos became much more fluid, and it was easier to move up and down the fretboard.

The extended pentatonic pattern links together the five standard pentatonic shapes so I can play from the lowest E string all the way up to the highest frets on the guitar. This lets me break away from “boxy” licks and create longer, smoother runs. Whether you play blues, rock, or another style, learning this pattern will give your solos a real boost.

This guide covers what the extended pentatonic scale pattern is, why it helps, how to use it, and some cool tips for practicing. If the idea of soloing across the entire guitar neck sounds exciting, you’ll find this technique really helpful.

What is the Extended Pentatonic Scale Pattern?

The regular pentatonic scale (like E minor or G major) uses five easy to remember shapes. These shapes fit together neatly, but when I learned to combine them, I unlocked one big pattern that covers the guitar from end to end. That’s what I call the extended pentatonic pattern.

In E minor pentatonic, for example, I start at the open low E string, work my way through each position, and end up all the way at the 12th fret and beyond. This extended pattern keeps the same familiar notes but helps me avoid getting stuck in one area.

Why Use the Extended Pattern?

It lets me connect licks from different positions.
I can play longer, more expressive runs across octaves.
Solos feel less limited and more musical.
I avoid repeating the same phrases in one spot, and keep things interesting.

Once I got comfortable with the patterns, the whole neck felt a lot less intimidating and my solos started to sound more natural.

How to Build the Extended Pentatonic Scale

I usually start with the E minor pentatonic scale for this pattern because it covers a wide range on the guitar. G major pentatonic uses the same notes, so once I have one, I have both!

Step by Step Approach

Pick the Root Note: I start with E on the open low E string.
Play Pattern One: Use the basic pentatonic box starting at the open position, but start looking for notes that you can play in the next position. For example, open A string can also be played 5th fret on the low E string.
Play first three notes on the E minor pentatonic on the low E string, e.g. open E, G 3rd fret on the E string, 1st finger, and then A 5th fret on the low E string, 3rd finger. Then slide/ shift to 7th fret on the low E string with the same 3rd finger – B note.
Notice now, you have gone beyond the first two positions of the scale to the 3 pattern, 5th position on the neck. Play 5th and 7th frets with the 1st and 3rd fingers notes A & B (already played), respectively, on the low E string, A string (notes D & E), and the D string (notes G&A). Now shift from 7th fret to 9th fret on the D string (note B).
Now play 7th and 9th frets on the G string (notes D & E) Notice that your not in the fourth pattern. Get ready for your next shift to the B string 8th fret, but still with your 1st finger (note G), and then play the 10th fret on the B string (note A), then shift with your 3rd finger to the 12 fret on the B string (note B).
Finally play the 10th and 12th frets on the high E string, (notes D & E).
Shift Through Shapes: As I move up each string, I bring in the next pentatonic position, sliding or shifting as I go. Practice going up and down the scale using just the 1st and 3rd fingers (index and ring finger).
Connect the Patterns: I link shapes together by sliding, hammer ons, or pull offs, instead of jumping abruptly between fretboard areas.

Tips for Connecting Patterns

I focus on the notes that are common from one string set to another. Realizing there are only 5 notes, E, G, A, B, and D, and that this pattern repeats itself over and again, helps me to remember it and to make the transitions feel smooth.
For E minor, even though it starts on the on the open E string, it’s really a repeatable and recognizable pattern of 2 notes ( D & E) and 3 notes (G, A, & B). Simple math 2+3=5. Since the pentatonic scale is five notes, this makes sense!
Practicing slides and position shifts between these shapes keeps the pattern fluid and lets me keep up the momentum in solos.
If you start on G, you get the G major Pentatonic Pattern:

This scale has a pattern of 3+2=5. Same math, same notes, just starting on G instead of E.

Notes on Usage

The Em patterns works great in kinds of contexts from Metal, to Rock, Blues, etc. It works best with songs based in Em or E7 such as Heart of Gold by Neil Young, or E blues, or Susie Q, Hey Joe, Iron Man and Paranoid by Black Sabbath, Enter Sandman by Metallica (honestly a lot of Metallica songs use E minor Pentatonic, etc.
The G major patterns works over anything in the key of G, Brown Eyed Girl by Van Morrison, Take it Easy by the Eagles, Sweet Home Alabama, etc.

It also helps to sing or hum the scale shapes while playing to get a strong connection between your ear and your fingers. Don’t be afraid to spend a little extra time in one section of the pattern before moving on to the next. Breaking it up into manageable chunks made everything easier to learn for me, and over time, I built muscle memory all along the fretboard.

Here is the same pattern starting at the 12th fret:

Notice that it’s the same pattern all over again, except now we can start on the D note (the 7th note in the scale). So we get 2+3=5 again for the minor.
Notice the G is starred to help find this root. Also note the pattern here is 3+2=5. This pattern also has the extra minor 3rd from the B to the D.
If your guitar has 24 frets, you can finish the pattern:

Try this in other keys:

C, D, E, F, A, Bb, Eb, etc

Practical Ways to Use the Extended Pattern

Once I started thinking in extended patterns, I found several easy ways to use them in my own playing. The flexibility to jump from one area of the fretboard to another opened up my improvisation a lot, giving me new melodic options and helping avoid solo “ruts.”

Ascending and Descending Runs

One of my favorite tricks is running up from the lowest E note (open string) to the high E (12th fret) as fast as I can. It feels like a real adventure across the neck and opens up a ton of creative options. I also like to go back down the way I came up, and then by using sequences or different rhythmic variations to give my playing some variety.

Mixing Slides and Bends

Sliding from one minor pentatonic box to the next or bending a note right before switching positions keeps the solo interesting. Sometimes I’ll bend the 7th fret note and then slide up to the 10th for extra movement. Mixing up slides, bends, pulls offs, and hammer ons in various spots across the neck allows me to string together phrases that sound more connected and less boxed in.

Isolating Cool Licks

I find a lick I like in one shape, then move it up or down into the next connected shape. This gives me more ways to use a single idea all over the fretboard.
If I’m playing in E minor pentatonic, sometimes I’ll run a phrase at the 3rd fret position, then immediately link it to the next pattern starting on the 5th or 7th fret, creating a seamless musical line.
Learn a lick on one string set, i.e. E & A string, and then transpose it to the other strings, other octaves…

You can even break up a scale run by inserting a familiar lick from one pattern and resolving it in another. This keeps things sounding fresh and helps build your personal style.

Common Challenges and Fixes

Learning the extended pentatonic scale pattern is really rewarding, though I ran into a few bumps at first. Here’s how I dealt with some common speed bumps:

Getting Lost on the Neck

I used to lose track of where I was, especially moving from one shape to the next. To fix this, I memorized the positions of the root notes (E in E minor) across all strings. Knowing where my “home base” is made moving between shapes feel safer. The more I practiced recognizing fretboard landmarks—such as the dots on certain frets or octave shapes—the easier it was to move with purpose and control.

Finger Stretching Issues

Shifting up and down the neck sometimes requires some bigger stretches than the classic “box” shape. I started slow, making sure each note was clear. Some finger exercises and playing scales in different keys helped me feel more comfortable with the wider reach. Don’t force your hands—instead, try exercises that gradually build reach and dexterity, like four fret stretches or finger permutations during warm ups.

Forgetting Which Shapes Link Where

I practiced connecting two shapes at a time, then built up to three or all five in a single run. Over time, muscle memory kicked in, and I didn’t need to think as hard about each connection. For extra help, I used diagrams and wrote out note names or finger numbers until the flow of the connections made sense. If I lost my “place,” I’d pause, double check the shape, and start again slowly.

Effective Practice Routines

Getting the most out of the extended pattern means breaking it down and practicing in chunks. Here’s how I recommend practicing:

Start from the open position and move through two positions, making sure each note rings clear.
Add a slide or hammer on to shift up to the next position. Repeat between each connected shape.
Use a metronome to keep a steady rhythm, but don’t rush. Going slow and accurate helps more than playing fast and sloppy.
Once I’m comfortable, I improvise simple licks using the connected patterns, moving up and down the neck. This builds real life soloing skills.
Try reversing the order, starting high up the fretboard and working backward to your original position. This has helped me get a better overall map of the neck and spot weak spots in my memory.
Record yourself improvising with the extended pattern and listen back, checking for any rough spots or repetitive ideas. Self recording is an underrated tool and will help you progress faster.

Questions and Troubleshooting

How do I remember the entire pattern?

Memorizing the root notes across all strings is really helpful. I also break the scale into smaller links, then combine them slowly. Over time, muscle memory takes over. Try marking the root notes with a sticker or remembering certain fret marks as signposts as you practice each section.

Is this pattern only for E minor?

No. Once I understand the shape and intervals, it’s easy to move the pattern to any key; just start from a different root note, and the extensions work the same way. I like to play the same extended pattern in G, A, or D to see how it moves across the fretboard in other keys.

How do I stop the pattern from sounding repetitive?

Adding slides, bends, double stops, and mixing in “blue” notes helps. I also change my picking dynamics or rhythm to keep solos fresh. For an added challenge, I’ll use different time signatures or practice with a drum machine to keep things interesting.

Using the Extended Pentatonic Scale in Solos

The extended pentatonic scale pattern made a real difference in my own improvising. By connecting shapes, I could follow the flow of music better and handle faster tempo songs. I felt a lot more freedom on the fretboard.

Action Steps to Get Started

Pick a key (like E minor) and review the five pentatonic shapes up and down the neck.
Practice combining two shapes with slides, then add a third and fourth.
Jam along to backing tracks, moving through all positions using the extended pattern.
Try improvising in a variety of styles (blues, rock, funk, etc.) and use the extended pattern to explore different phrasing ideas.

This approach lets me move all over the guitar confidently, keeping solos interesting for both me and anyone listening. Since I started focusing on these patterns, I noticed my phrasing sounds smoother and more mature. With continued practice, you’ll find yourself stumbling upon new sounds and ways of expressing yourself within the pentatonic shapes. There’s always something new to track down, and the extended pentatonic pattern will serve you well, no matter what style you play.