Double Bass Recommend an arpeggio book

[fdeck]

I've been playing for decades, but have never studied arpeggios in any systematic way. Is there a decent book of fingered arpeggios? I use basic vanilla 1-2-4 fingering.

Physical or e-book are fine, I don't mind paying.

Extra points if you're the author.

 

[LaFaro01]

There is a "quite nice" book from Joel Quarrington about chords, arpeggios and scales available for fourths and fifths tuning...
https://joelquarrington.com/store
But perhaps the exercises of Henk Haverhoek are already enough?!?!
Henk haverhoek's Bass Exercises

 

[fdeck]

Downloaded and printed. I'll give it a try.

 

[LexD]

Melodic Arpeggios and Triad Combining for Bass by John Patitucci.

 

[kkenda11]

The Discover Double Bass arpeggios course includes pdfs with complete fingerings for Maj7, Dom7, Min7, HalfDim7, Dim7, MinMaj7 in 1, 2 and 3 octaves for all 12 keys. The pdfs are comprehensive and well-laid out.

Boardwalkin' by Harold Robinson has some arpeggios with fingerings. They are pretty different from what Geoff Chalmers lays in his course.

More ideas here: Reference source for two octave arpeggio fingerings?

 

[Ed Fuqua]

https://www.carlfischer.com/bf3-the+school+of+agility.html.

But I think a good approach would be to work out fingerings for yourself. Joe had me practice arpeggios in a bunch of different ways to hit all inversions and in open and closed positions. You definitely need to thoughtfully consider shifts and fingering from the perspective of your own physiognomy.

 

[PaulCannon]

The two I used the most were Boardwalkin' and Rabbath Book 3.

What I like to do these days are more "staggered" patterns, rather than simple up-and-down three octaves. While it's good to know how to do that, running multiple octave arpeggios up and down is actually very rare to see in repertoire. What's more useful to me is focusing on smaller groups and localized patterns.

For example:

 

[BobDeRosa]

https://www.carlfischer.com/bf3-the+school+of+agility.html.

But I think a good approach would be to work out fingerings for yourself. Joe had me practice arpeggios in a bunch of different ways to hit all inversions and in open and closed positions. You definitely need to thoughtfully consider shifts and fingering from the perspective of your own physiognomy.

Ed nails it once again. One of my favorite writing teachers used to say "Nothing happens until it happens on the page." I think we can expand that to "nothing happens until it happens on the bass." Don't we all need to spend more time playing, listening, and thinking things through?

 

[Andy Mopley]

Don't we all need to spend more time playing, listening, and thinking things through?

Well said, Bob. Recently, in our community orchestra, the conductor has taken the time to explaing the context of the piece we'd playing. The 1812 overture was a real eye opener! On top of that, I listen to a new piece (with the score) a few times BEFORE even thinking about picking up the bass. Granted, we don't always have the luxury to do this, but where we can, it is advisable. As they say, preparation is 80% of career success.

 

[Phil Rowan]

The two I used the most were Boardwalkin' and Rabbath Book 3.

What I like to do these days are more "staggered" patterns, rather than simple up-and-down three octaves. While it's good to know how to do that, running multiple octave arpeggios up and down is actually very rare to see in repertoire. What's more useful to me is focusing on smaller groups and localized patterns.

For example:

View attachment 4502301

+1. When I work on arpeggios, I do a variation of this in which I’ll play the first three notes of the arpeggio (ascending and descending), then add the 4th note, also ascending and descending. This continues till the whole arpeggio is built, but any new notes don’t get added till the notes in the current set are totally secure and in tune.

 

[Sean Riddle]

The two I used the most were Boardwalkin' and Rabbath Book 3.

What I like to do these days are more "staggered" patterns, rather than simple up-and-down three octaves. While it's good to know how to do that, running multiple octave arpeggios up and down is actually very rare to see in repertoire. What's more useful to me is focusing on smaller groups and localized patterns.

For example:

View attachment 4502301

This is definitely something I've begun to focus on a lot more. During a lesson Ken Filiano, he had me improvise several pieces just using arpeggios in multiple inversions in this "staggered" style. For me as an improviser, exploring closely related arpeggios is extremely helpful.

 

[damonsmith]

This points out an issue that I have noticed in recent years. Prioritizing elegantly connecting the registers actually "fractures" one of the octaves of the pattern, normally the upper octave. It takes years to reconstruct them in our mind.
My method now is to "mirror" early one octave exercises, scales and arpeggios.
I think programming patterns in so that we get a good overview of the fingerboard right away is more important introducing them where they sound best or connect to the low register best.

The two I used the most were Boardwalkin' and Rabbath Book 3.

What I like to do these days are more "staggered" patterns, rather than simple up-and-down three octaves. While it's good to know how to do that, running multiple octave arpeggios up and down is actually very rare to see in repertoire. What's more useful to me is focusing on smaller groups and localized patterns.

For example:

View attachment 4502301

 

[Ryan in PDX]

My method now is to "mirror" early one octave exercises, scales and arpeggios.

By "mirroring" do you mean you're keeping the same fingering in each octave, moving the shape of the pattern up/down the board and across one string per octave? I can see the advantages of always drilling the exact same shifts every time.

I think programming patterns in so that we get a good overview of the fingerboard right away is more important introducing them where they sound best or connect to the low register best.

Are you suggesting only practicing one fingering until the student has a certainly proficiency, and only then trying out different fingerings?

Coming up with different fingerings has been beneficial to me in a lot of ways, but maybe I'll stick with one fingering for a while and see what that does for my confidence in the shifts, and the end of the fingerboard in general. Of course I'll discuss it with my teacher at our lesson this week.

 

[damonsmith]

Yes, basically, 123 for 124 in thumb position, only used for harmonics that would be open strings in the low register. I am suggesting this the initial way to "map" the register. Obviously every fingering should be learned!

By "mirroring" do you mean you're keeping the same fingering in each octave, moving the shape of the pattern up/down the board and across one string per octave? I can see the advantages of always drilling the exact same shifts every time.


Are you suggesting only practicing one fingering until the student has a certainly proficiency, and only then trying out different fingerings?

Coming up with different fingerings has been beneficial to me in a lot of ways, but maybe I'll stick with one fingering for a while and see what that does for my confidence in the shifts, and the end of the fingerboard in general. Of course I'll discuss it with my teacher at our lesson this week.