David,

The short answer is NO. Pattern 1 is the same pattern for any key. It would be too confusing otherwise. You find the patterns in different keys by the root note so it is important to know the roots on at least the 6th and 5th strings.

However – this chart shows a MAJOR pentatonic scale where the pattern numbers are assigned in a different way than in a minor pentatonic scale (I suppose some people learn it that way). The way I learned – and the way Brian teaches – is that Pattern 1 (which on your chart is numbered as 5) is Pattern 1 for both minor and major scales. It is what Brian often refers to as “home base”. It is easy to remember and that’s where we usually start to learn the patterns. And I would start with the MINOR pentatonic scale, more often used in blues.

In order to understand the patterns better, I would highly suggest you go over the Blues Lead Guitar Course Brian has included here for Premium members. You can find it below the Search lesson categories.

Wow, that chart is rubbish. What they show as Pattern 5 is what every guitar player in the world would call Pattern 1….for any key, and for either major or minor. For pattern 1 minor pent, the root note is played by your index finger on string 6. Drop it down 3 frets to get the major pent scale, and the root note is now played by your pinky. Easy peazy.

David,
Jola has clearly outlined how the patterns are used on Active Melody. You will find others who number the positions as in your chart. It makes sense in one regard. Calling the major pentatonic pattern 1, as in your chart, shows the pattern that will overlay the more familiar minor pentatonic box 1 shape Jola refers to. Calling these two different shapes box 1 makes sense in that both box 1’s will share all the roots in the same place. Theoretically, that would make it easier to switch from the major to minor and vice versa in the same area of the fretboard or mix the two shapes together. As much as that idea appeals to me, I can’t wrap my head around it and find it easier to picture the boxes when numbered according to the identical shapes as we do on this site. This means that box 2 major will overlay box 1 major with the same roots and so on through the shapes.
John

I personally prefer to reference each pattern by their underlying CAGED chord shape than a number. By visualizing the chord shape that lives within the pentatonic pattern, I know where all the chord tones, triads and arpeggios are. I also find that visualizing the chord shape also helps me visualize the pattern. I guess its just what you get use to and find most useful. As Shakespeare said, “A rose by any other name would smell as sweet”.

I’m also in the CAGED chord name for all scale patterns.
I learned the major scale in all 5 patterns first and it
was just natural to name them for tee underlying chord shapes
and see how all scales, chords etc come from the Major Scale
it just made sense.

Brian is the only person I know who names then the why he does.
But if it work for some then there’s really no harm. Just as long
as you understand how to make music with them.
Thats what’s really important.