Just a thought I was having about the "Golden Pattern"... you came up with it by hypothetically extending the width of the fretboard (so instead of 6 strings, you just kept adding strings) until the pattern repeated. However, obviously most actual fretboards are restricted to 6 strings, so in the end, you're really playing different patterns that can be viewed as being parts of larger single pattern.

The 5 basic patterns that are more traditionally used could be viewed the same way. If you take a fretboard and extended lengthwise, the 5 patterns would eventually repeat, and therefore could be viewed as a "single pattern". In fact, that the whole rationale behind the 5 octave pattern approach, is that those 5 octaves repeat across the fretboard.

One thing I noticed with your "Golden Pattern" approach is that when I tried to apply it to modes, it got pretty complicated. For the major scale, the string skip idea works. But when trying to play say, the Dorian scale, I have to think back to the pattern as it would be played in the major scale mode, then think where I am in that pattern but now playing the Dorian mode, and where the "string skip" would occur even though I'm not crossing the G & B strings... sorry if I'm not explaining this well, I'm not a super technical player.

One thing I really like about the 5 octave pattern approach that MIT uses, is that you are learning just the 5 patterns, and you use those same patterns to play all modes. Similar to what you're trying to come up with, but without the confusion of when to "skip strings". So when you're trying to "learn" to solo in A Minor after learning the Cmaj scale, you're not learning any new "patterns"... you're simply learning to center the patterns you already know around a new tonal center, A instead of C. What I like about this approach is that for me at least, it makes modes more useful. It seems like a lot of people ask "how do I learn this mode?" and "when should I use this mode?"... but for myself, I'll be jamming along with a backing track or whatever, and come up with some riff or solo bit that I like, without worrying about what notes I'm using. Then, by identifying the tonal center/root note and the pattern I'm using, I can work it back and figure out what scale/mode I'm using, which may lead to other ideas.

The great thing about the 5 pattern approach though is that the patterns repeat, and always in order. So once you've identified which pattern you're using, you know where the rest of the notes are. After a while, I found I was starting to be able to visualize the entire pattern across the fretboard, which is nice is you want to slide into notes or use certain fingers for bending. I just think its great to be able to visualize where you on the fretboard independent of your finger placement.

I still think your idea has potential, but I'd also strongly recommend you check out "The Guitar Fretboard Workbook" so you can see what's been laid out so far. I'm just thinking back to your original post where you said if someone had explained the "Golden Pattern" concept to you earlier, it would have been really helpful.... I found that with the Guitar Fretboard Workbook.. for instance, I've have tons of people try and explain flats & sharps & key signatures, and they always had really complicated explanations. Then I read "we don't mix sharps & flats, and we don't use the same letter twice" and that just made a whole lot of sense to me!

Good Luck!

Cal