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Miraculous Arpeggio Fingerings arrange the twelve key centers in ascending chromatic order from E to E-flat. Each key includes major, major/maj7, dominant 7, augmented, minor, minor/maj7, minor/min7, diminished, half-diminished, and fully diminished arpeggios. I have found many of these arpeggios to be of particular interest to jazz players. Because there are three complete octaves in every key available on double basses with a fingerboard of average length, each arpeggio type is presented in three one-octave, two two-octave, (the middle octave is included in two-octave arpeggios), and one three-octave arpeggio. Because it is impossible to always shift on every other note in all arpeggios, Miraculous Arpeggio Fingerings includes only one slow fingering and one fast fingering for each arpeggio. These fingerings conform to the same philosophy and notation as the Miraculous Scale Fingerings. Slow fingerings (white note heads) avoid all open strings, and tend to have more shifts, while fast fingerings (black note heads) use open strings, have as few shifts as possible, and occasionally use extension position. Every note in Miraculous Arpeggio Fingerings has a fingering indication. Those notes that require a shift are notated with a large, bold number, while those notes that are in position are notated with a small, fine number. The preface includes a suggested manner of execution regarding rhythm, and bowing, but the player is free to play these arpeggios at any speed, any octave or octaves, any rhythm or any bowing. The flexibility, and resultant variety of difficulty of these arpeggios make them useful to players of almost any playing level - almost cradle-to-grave arpeggios. For novice players, however, the scale fingerings may be still too difficult and it is recommended that they begin with Dr. Morton's Primer Scale Fingerings which was written to prepare them for the more "professional" fingerings used in the "Miraculous" books.
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American School of Double Bass, 734 Oak Street, Columbus, Ohio 43205 USA
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