linguistic:voice_change, structural:summarization, linguistic:translation, quality:corruption
Playing style

Like other violin and viol-family string instruments, the double bass is played either with a bow (arco) or by plucking the strings (pizzicato). When employing a bow, the player can either use it traditionally or strike the wood of the bow against the string. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in modern jazz that call for bowing.

Bowed notes in the lowest register of the instrument produce a dark, heavy, mighty, or even menacing effect, when played with a fortissimo dynamic; however, the same low pitches played with a delicate pianissimo can create a sonorous, mellow accompaniment line. Classical bass students learn all of the different bow articulations used by other string section players (e.g., violin and cello), such as détaché, legato, staccato, sforzato, martelé ("hammered"-style), sul ponticello, sul tasto, tremolo, spiccato and sautillé. Some of these articulations can be combined; for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes (quarter notes, half notes, whole notes), rather than rapid passages.

Classical players perform both bowed and pizz notes using vibrato, an effect created by rocking or quivering the left hand finger that is contacting the string, which then transfers an undulation in pitch to the tone. Vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect.

In jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play rapid pizzicato walking basslines for extended periods. Jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that classical bassists encounter in the standard orchestral literature, which are typically whole notes, half notes, quarter notes, and occasional eighth note passages. In jazz and related styles, bassists often add semi-percussive " ghost notes " into basslines, to add to the rhythmic feel and to add fills to a bassline.

The double bass player stands, or sits on a high stool, and leans the instrument against their body, turned slightly inward to put the strings comfortably in reach. This stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers.