This is the first of a radically high number of possible octave pedal-tone exercises. In this one, we start at the open position C Major scale fingering and sort of inchworm our way all the way up to the high C on the 20th fret of the high-E string and then work our way back down so that we descend into a Unison through the same register we started in. The difference in the last octave sequence as compared to the first octave sequence is that we are now descending to the unison in the 5th position. Some CAGED-style thinkers might C this as the G shape, as opposed to the opening patterns movement through the C shape.
One possible goal is to create as much overlap and ringing connection between notes as possible. Another equally fine approach is to make the notes as detached as possible. The choice really is up to you and the style you are working within, or towards, or maybe even away from?
To achieve a strong foundation for future pattern generation development it is very important to keep track of where your moving voice is in the scale. To this end, even more than being aware of the letter names you are playing–though that is pretty crucial at the outset–you will want to practice seeing the notes you are playing relative to their scale degrees. So, for the C Major scale, C = 1; D = 2; E = 3; F = 4; G = 5; A = 6; and B = 7 and C at the octave, above or below = 8. This first exploration expands and contracts only between single octaves and a unisons so there is no need to consider compound intervals though at some point 2=9, 3-10, 4=11, and 6=13 will become valuable.
Here is the play through for reference. Feel free to play it slower or faster, or with distortion or not. All of these decisions are yours to make. Happy pattern generating.
Pattern Generation 