Pentatonic patterns often encourage you to move through neighboring strings. String skipping introduces another route: crossing over an unused string to reach a different part of the scale.
That movement can create wider melodic intervals and help you avoid repeating the same ascending and descending runs.
Pentatonic string skipping means moving between nonadjacent strings while choosing notes from a pentatonic scale.
This lesson develops the technique in A minor. You will begin with two notes, practice controlled crossings and muting, and turn the movement into a short phrase.
Want a guided approach to developing your pentatonic playing? Explore the pentatonic guitar course and review the lesson details to see whether its approach matches your learning goals.
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What Counts as String Skipping?
Moving from the D string directly to the B string skips the G string.
Moving from the G string directly to the high e string skips the B string.
| Starting string | Destination | String skipped |
|---|---|---|
| Low E | D | A |
| A | G | D |
| D | B | G |
| G | High e | B |
You can skip more than one string, but begin with a single intervening string.
The challenge is reaching the destination accurately while keeping the skipped string quiet.
String Skipping and Wide Intervals Are Different
Skipping a string describes a physical movement. An interval describes the pitch distance between notes.
A string skip can produce a wide leap, but it does not automatically do so.
For example:
| Movement | Notes | Melodic interval |
|---|---|---|
| D-string 7 → B-string 5 | A → E | Perfect fifth upward |
| G-string 7 → high e-string 5 | D → A | Perfect fifth upward |
| G-string 12 → high e-string 5 | G → A | Major second upward |
All three skip a string, but the third moves only a whole step in pitch.
Choose notes for the sound you want, then work out a comfortable route.
The pentatonic intervals lesson explains these pitch relationships.
Prepare a Small A Minor Pentatonic Map
Use standard tuning and these locations:
| String | Lower note | Upper note |
|---|---|---|
| D, 4th | Fret 5 — G | Fret 7 — A |
| G, 3rd | Fret 5 — C | Fret 7 — D |
| B, 2nd | Fret 5 — E | Fret 8 — G |
| High e, 1st | Fret 5 — A | Fret 8 — C |
All belong to A minor pentatonic:
A–C–D–E–G
Refer to the pentatonic scale chart for the complete surrounding position.
Begin with a clean or lightly driven sound so accidental strings are easy to hear.
Exercise 1: Skip From A to E
Play:
D-string fret 7 → B-string fret 5
The notes are:
A → E
Skip the G string.
Try your ring finger at D-string fret 7 and index finger at B-string fret 5.
Use this four-beat structure:
| Beat | Action |
|---|---|
| 1 | Play A |
| 2 | Stop A |
| 3 | Play E |
| 4 | Stop E |
The deliberate gaps give you time to move and check the destination.
First, look at the string you want to reach. As the route becomes familiar, reduce how often you need to watch the picking hand.
Check the Skipped String
After several repetitions, listen specifically for an accidental G-string note.
If it rings, slow down and reduce the exercise to the picking-hand crossing. Lightly mute the strings with the fretting hand and practice striking only the D and B strings.
Then restore the fretted notes.
Exercise 2: Return Along the Same Route
Reverse the movement:
B-string fret 5 → D-string fret 7
The notes are:
E → A
The return crossing may feel different from the outward movement.
Practice both directions separately before alternating continuously.
Then play:
A → E → A → E
Use one note per beat.
Aim for one note at a time. Stop the previous string as the next note begins, rather than allowing an unintended two-note overlap.
The guitar string-muting lesson explains how both hands can help.
Choose a Picking Approach Deliberately
Several approaches can work for string-skipping phrases.
| Approach | What to practice |
|---|---|
| Alternate picking | Maintain successive down-up attacks across the skip |
| Hybrid picking | Use the pick for one string and a picking-hand finger for the other |
| Fingerstyle | Assign separate fingers to the selected strings |
Begin with the approach you already control most comfortably.
If you use alternate picking, try:
A with a downstroke → E with an upstroke
Then reverse the starting direction:
A with an upstroke → E with a downstroke
The crossing geometry changes, so one version may initially feel easier.
The alternate-picking lesson develops that coordination.
Exercise 3: Skip Between the G and High e Strings
Play:
G-string fret 7 → high e-string fret 5
The notes are:
D → A
Skip the B string.
Start with the same separated timing used in Exercise 1.
Then add C at G-string fret 5:
C → D → A
| Step | String | Fret | Note |
|---|---|---|---|
| 1 | G | 5 | C |
| 2 | G | 7 | D |
| 3 | High e | 5 | A |
Play C on beat 1, D on beat 2, and A on beat 3. Hold A through beat 4.
Over an Am chord, the final A provides a clear root destination.
The pentatonic root notes lesson shows other A notes you can target.
Looking for a structured way to expand your pentatonic technique? Review the pentatonic guitar course and check whether its lesson approach suits your current goals.
Exercise 4: Play Two Notes on Each Selected String
Use the D and B strings while skipping G.
Play:
D-string 5–7 → B-string 5–8
The notes are:
G → A → E → G
| Step | Location | Note | Alternate-picking option |
|---|---|---|---|
| 1 | D-string 5 | G | Down |
| 2 | D-string 7 | A | Up |
| 3 | B-string 5 | E | Down |
| 4 | B-string 8 | G | Up |
Stop after the four-note group.
Practice the transition from D-string fret 7 to B-string fret 5 separately if needed.
Then descend:
B-string 8–5 → D-string 7–5
The notes are:
G → E → A → G
Practice both groups beginning with an upstroke as well.
Keep the timing even across the larger picking-hand movement.
Exercise 5: Make the Skip Part of a Musical Phrase
Play:
A → E → G → D → A
Use these locations:
| Step | String | Fret | Note |
|---|---|---|---|
| 1 | D | 7 | A |
| 2 | B | 5 | E |
| 3 | B | 8 | G |
| 4 | G | 7 | D |
| 5 | High e | 5 | A |
The phrase contains:
- A skip from D to B.
- A neighboring-string move from B to G.
- A skip from G to high e.
Try this rhythm:
Bar One
- Beat 1: A.
- Beat 2: E.
- Beat 3: G.
- Beat 4: D.
Bar Two
- Beat 1: Higher A.
- Beats 2–3: Continue holding A.
- Beat 4: Rest.
Use a steady Am accompaniment.
Listen for the shape of the melody, not just the success of the string crossings. The pentatonic phrasing lesson explains how note lengths and space help organize the result.
Let the Pick Clear the Skipped String
When using a pick, the motion must travel from one selected string to the other without sounding the intervening string.
At a slow tempo, observe whether the pick remains trapped between strings or clears them comfortably.
Keep the motion controlled, but allow enough movement to reach the destination. A string skip naturally requires more travel than picking a neighboring string.
Avoid forcing a tiny motion that repeatedly catches the skipped string.
At the same time, do not swing the entire arm unnecessarily. Look for a comfortable path you can repeat with a relaxed hand.
If the crossing consistently fails, try the other starting pick direction or simplify the phrase.
Keep Muting Flexible
The strings that need muting change as you move.
For example, while playing E at B-string fret 5:
- The picking hand can help quiet unused thicker strings.
- Available fretting-hand contact can quiet the high e string.
- The G string you skipped must remain silent.
When returning to the D string, those contact points may need to adjust.
Do not hold a rigid muting position that prevents the intended note from sounding.
Practice the whole event:
Play → cross → stop the previous note → sound the destination → reset quietly.
Add Legato After the Crossings Are Reliable
In Exercise 4, try:
- Pick D-string fret 5.
- Hammer on to fret 7.
- Pick B-string fret 5.
- Hammer on to fret 8.
The notes remain:
G–A–E–G
This reduces the number of pick attacks, but the string skip still needs accuracy.
Compare the fully picked and legato versions at the same tempo. Do not let the hammer-ons rush.
The hammer-ons and pull-offs lesson explains how to keep those notes clear.
Common String-Skipping Mistakes
Practicing Too Many Strings Immediately
Begin with one pair of nonadjacent strings.
Add another route once you can reach the first reliably.
Looking Only at the Fretting Hand
If the wrong string sounds, the picking-hand path may need attention.
Practice muted-string crossings to isolate it.
Allowing Previous Notes to Ring Automatically
Overlap can be intentional, but these exercises develop single-note clarity.
Stop each previous note when appropriate.
Using Speed to Hide Inaccuracy
An accidental string may become less distinct at speed while still making the phrase noisy.
Slow down until you can identify every attack.
Treating the Skip as the Musical Goal
The movement is a means of reaching notes.
Use it when its interval, register, or articulation contributes to the phrase.
Ignoring the Return Direction
Practice both outward and returning movements.
Different pick directions and string relationships create different coordination demands.
A 12-Minute String-Skipping Routine
| Time | Exercise | Focus |
|---|---|---|
| 3 minutes | D-string 7 ↔ B-string 5 | One accurate crossing |
| 3 minutes | G-string 7 ↔ high e-string 5 | A second route |
| 3 minutes | Two-note groups on D and B | Coordinate fretting and picking |
| 3 minutes | Play the five-note phrase | Musical timing and endings |
Use a tempo that lets you hear each note clearly.
Record a brief attempt and listen for accidental strings, uneven spacing, and unwanted overlap.
Frequently Asked Questions
Is String Skipping an Advanced Technique?
Simple skips can be practiced early.
Fast passages with frequent changes are more demanding, but two well-controlled notes provide a manageable starting point.
Should I Use Alternate Picking or Hybrid Picking?
Both can work.
Begin with a familiar approach, then compare alternatives. Choose according to the phrase and the sound you want.
Does String Skipping Always Create a Large Leap?
No.
The interval depends on the actual pitches, including their fret locations. The physical string gap alone does not determine the melodic distance.
Can I Practice These Exercises on Acoustic Guitar?
Yes.
Use a comfortable hand position and a clear, controlled attack. The same accuracy and muting principles apply.
Can I Transpose the Examples?
Yes.
Move every fretted note by the same distance while keeping the string routes unchanged. The pentatonic transposition lesson explains how to choose the new locations.
Make the Crossing Serve the Phrase
Start with A on D-string fret 7 and E on B-string fret 5.
Reach each string accurately, keep the skipped G string quiet, and practice the return movement. Then add a second route and a short phrase with a deliberate ending.
As the crossings become more comfortable, use them selectively to reach wider intervals and new registers.
The useful result is greater freedom to choose your next note without being limited to the neighboring string.
Ready to develop your pentatonic playing further? Explore the pentatonic guitar course and review its lesson information to decide whether it fits your next learning step.