| My training is defninitely on the Jazz side. I have always used the bow for practicing, but over the last year or so have been working diligently on getting music to come out of the Stick'O Pain.
As far as these fingering working with classical stuff, I would certainly think so. These fingering are just guidlines for getting around the bass with ease. You will always find exceptions, of course, but these fingerings give you a home base.
Where I diverge strongly from the classical fingerings that I've seen taught is that I don't use 2 or 3 different types of fingering for thumb position and also I start into a four-fingered approach lower on the bass -- when intontation can be sacrificed for speed. Where my fingering really starts to shine is when you get further into harmonic exploration -- you are in the right psotion for all of your neighboring tones, etc, allowing better access to both chromatic playing and vertical playing through changes. I also feel that it helps get a hand-to-ear relationship together faster, as the note that you're looking for can more easily be related to your hands.
Another thing that I tend to do more than what is traditionally taught is that I tend to play more across the bass (closed position) than playing along the bass (lots of shifting). This augments speed, but can sacrifice sound as you tend to be on shorter, thicker strings as a result. This is all balanced against what you want -- sound or speed. | 
