The instrument itself may infinitely expand its dimensions to accommodate the lowest pitches, but alas, our physiology is limited: the human hand is only so large. While the rest of the violin family was able to achieve equilibrium of power and playability early in life, the double bass, with its proportionally larger dimensions, faced extra challenges. Owing to their unique internal structure, the violins can withstand tremendous amounts of pressure exerted upon them by the strings without impeding resonance. This lack of standardization is the result of the ongoing search for an ideal: that the entire family of violin-based instruments may produce a clear and powerful sound throughout their overlapping ranges. Owing to its size, the double bass has defied standardization.
The other stringed instruments were not often subjected to frequent changes in tuning, instrument size, number of strings, or playing technique, all of which have plagued double bass players since the inception of the violin family.
Owing to a variety of factors, most of which distil from the sheer size of the instrument, the double bass has eluded the standardization that is common amongst the other modern members of the violin family. In reality, the double bass has had a relatively colourful, albeit unstable history compared to all the other modern strings.
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If only the double bass followed the seemingly linear trajectory of the violin! There would have been little room for debate on how to hold, play, and tune the instrument. The above quote by Paul Brun, the world’s leading double bass scholar, only hints at the complexity of the contrabass’ twofold history. As a member of the violin family, the double bass shares fully in its history, development and technique.” “The development of the double bass is linked to two facets of musical history: the changing configuration of the violin family and the evolution of the orchestral ensemble.
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