I've written some scales (no arpeggio, sorry) just to illustate a quite good system to finger.
Surely it's not best but neither the worst!!
I repeat it's a system that has got a own logic.
At the end you can play Bottesini Tarantella also with the first finger, or if your are a talent
every sort of fingerings for you are correct.
It's the last problem! But we must give a good vision to student, both at the neck or in thumb position, and eventualy also to explain why a finger is better than another (i.e. if let's consider all the phrase, or in a "cantabile" a finger vibrates better than another). One might write two hundreds of different scales, but why? There's no reason, imho. My final suggestment is to follow a technique solid and who gives you the sensation to play "easy". Bye
"We all must thank you, Dear Vito, for your tireless work for all of us bassists!" You are doing so much for your colleagues and your art.
Ricordando Giuseppe Maria MARANGONI (1866-1945) "Anna e Pietro si lasciano andare in una esecuzione sul filo della memoria di una musica ormai totalmente interiorizzata e si guardano, di tratto in tratto, in una straordinaria muta conversazione d'intenti.
PIERMARIO MURELLI - "Nuova didattica per contrabbasso " Ed. RICORDI