Vertical Apreggios

Firstly, I'd like to say thank you for all the great musical advice and knowledge you've shared with us on TalkBass. I, personally, can only speak for myself, but, I must say that, I've learned bounds in the past few weeks. Be it from your inspiring posts, or from practice and research after the fact!
To better improve my memory of the fretboard and help build sense of movement when improvising/creating walking lines I've been drilling myself with various "scale"-based practices (a term I generally hate, but can't find a better one at the moment). I will select a key (generally G, C, or Bb for now (haven't really touched Harmonic or Melodic Minors yet either other then their basic shapes)), then, starting on the lowest string (B in my case), play the modes of said key horizontally across the fretboard and back (typically starting on fret one, and continuing until I get through all the respective modes of the key). I then go back through each mode and repeat, but this time I single out each arpeggio instead of the entire scale. Recently I've been trying to connect these various arpeggios vertically throughout each of the modes. For example, if I were playing the key of C, I'd take Cmaj7 (Not touching any extensions yet either) on the first fret and run through the horizontal arpeggio in the ionian mode (these are three note per string fingerings as well), I'd then slide to the last note of the arpeggio in dorian and go back, so on and so forth, down the entire neck.
Doing all this has shown great improvement thus far in my knowledge of where I am on the fretboard at any given time. My only issue is that these exercises seem, for lack of a better term, kind of simplistic to me. I feel as though there are different and more challenging ways I could be putting these shapes under my fingers and thus deeper into my mind.
I'd love to hear any ideas/practice suggestions you may have regarding memory of the fretboard and what I could also/better be doing to achieve such.

 

Over time, I just figured out the arpeggios myself, in each position I could logically come up with (seven positions per arpeggio in a key by the time it was done (essentially road down the neck a mode at a time). Thanks for the cello book suggestion! It'll be nice having some real content to work at, I've been working the shapes/sounds out to backing tracks and songs I'm familiar with up til now. I'm guessing the book suggest a 1-2-4 fingering system though, might have some obstinance there!

 

I believe this is what I've been looking for then! Should at least give me some much needed practice structure it sounds like (and sight reading!), kinda have just noodled with the arpeggio shapes for the most part to "practice". Thanks again for the info!

 

I very much agree! It's more or less practice for me to learn the bass as an instrument, not to gain any new musical concepts per se. This has also got me anxious for your response to the user prooftheory's question in the other thread. Seems like a question that should benefit all bassists here!

 

I actually found it on IMSLP earlier and played through the first couple a few times! They're pretty fun too!
I take this site for granted all too often..
40 Variations, Op.3 (Ševčík, Otakar) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

Edit: I see your version is bass cleff however