Fingering charts for 2-octave arpeggios?

The most efficient way is for you to figure out what works best for what you are trying to accomplish.

To put it another way, you can spend 10 minutes searching Google, without the guarantee that you find the answer, to do 1 thing or spend that same 10 minutes trying different things on the instrument and walking away with an actual learning experience.

 

Here you go fellow nippon living bassist.
5-String Bass Arpeggio Map - Musicopedia

 

This is for 6 string but it will give you everything you are looking for I think.
Dave's Six-String Bass Resource Page

 

Who is to say what works for you to make the instrument sound good is considered a bad habit?

For example, a classical guitarist will consider it a bad habit if the guitar is not played in a sitting position at a specific angle. A guitarist who shreds will consider it a bad habit when a blues player hangs their thumb over the low E string.

Most people would consider playing the instrument backwards, behind their head is considered a bad habit but would be quick to say "Well that's different" when it is pointed out that Jimi Hendrix did it.

 

If you are going to use the map, I would start with my first finger and play all the notes in that hand position, then second finger and all the notes in that position, and last fourth finger and all it's notes.

 

Just remember you can play scales a lot of different ways. There are three main ways that people use - pinky on root, middle on root, and index on root. If you start with pinky on root (ie E on 5th fret of B string) you can easily get up to the 5th past the octave. If you start middle on root you can get up to 5th past octave easier than pinky but need to shift if you want the 2nd octave. If you start index on root you can get two octaves but a bit of a stretch.

Aside from these three I remember Jaco showing 2 octave arpeggio patterns where you switch after the first middle on root to 5th pattern up the same string. It's a good way to cover the fretboard quickly and learn where your notes are. You can also play scales on individual strings as well.

In other words, this is a good time to learn the fretboard and figure out what works for you.

 

Good maps, thanks for posting.

 

Dude that's a good resource

 

Dave's 5 Bass Resource Page
Dave's Five-String Bass Resource Page - Arpeggios - The Major Scale - Single Position Patterns

 

Buy the Berklee Chord Studies book.

 

Try the following-One of the ways I like to do arpeggios comes from the Jaco video. Basically, its a way to smoothly move up the neck while playing the arpeggio, done in all keys, the Major 7 arpeggio goes like this, on 5 string.

D major 7 as example- 1st finger on D (3rd fret B string) shift up to the F# with 4th finger on B string (7th fret) then across to A with the 2nd finger (5th fret E string) across to C# with the 1st finger (4th fret A string) the D with 2nd finger (5th fret A String). Up to the F# with the 4th finger (9th fret A string), across to the A with 2nd finger(7th fret D string), across to C# with the 1st finger (6th fret G string) and finally 2nd finger finishes with D 7th fret G string. You'll notice that there is a repeating pattern there, and can easily be applied all up and down the neck. I call it the 'shift 3rd pattern', because the shift up the neck occurs on the 3rd of the chord.

 

Here is the part Jaco does it, but he is not playing the 7th, just R 3 5. The movement up the neck is the same, but the pattern breaks up quicker beacause only 4 strings. He goes into why he takes that approach.

 

You may find this file helpful. I wrote it for myself and my bass is strung from E to C, but it still addresses 5 string arpeggio positions. It's a trivial matter to transpose it to the key related to conventional 5 strings.

 

If you always start your arpeggios on the lowest string (usually B), then there is no need for shifting as such, as staying in a single 5-fret position will yield a full 2-octave shape. I like the resource from Dave Grossman, linked above. Essentially, those shapes stem from the scales/modes positions when player with a three-note-per-string approach.