It's time to update the Pete book. What he implies are that there are basic strum patterns to be learned but he has few applications of it.

What needs to be done now is to take Pete's arrangements and tab them out so that
the student can learn to do it his way and then make them their own.

Unfortunately, the Scruggs style has become the norm but it's not good for accompanying singing. Some of the Scruggs patterns can be used for "fills" as Pete does successfully.
Bela and Earl have dazzled the banjo world with their talents but Pete's message has always been that singing and playing is an inclusive activity. How to do this is what we must learn from Pete. There are basic patterns that Pete uses that can be applied to a variety of song material and this is what is yet to be presented in a form that can be learned.

Pete has borrowed a lot of his ideas from jazz. There are few old-time musicians that use eleventh and thirteenth chords in their accompaniments as Pete does. Pete's musicality on the banjo is vastly underrated by folkies who think that three chords and a nasal twang are enough. Pete and Peggy have intricate and lovely accompaniments to their songs that need to be explored in more detail. The banjo is a lovely musical instrument capable of dynamics, musical range and the perfect accompaniment instrument for singing.

Frank