My biggest challenge with bass intonation was always my small hands.

Building strength in my left hand, being able to open my hand to reach positions and hold them felt impossible.

I remember my teacher, super tall with giant hands, telling me “this instrument is not for you”.

And maybe he was right… his methods were designed for bassists with big, strong hands.

But here’s what I discovered: all people are different. Everyone has their strengths and weaknesses and that doesn’t determine if you can become a professional musician or not.

With time (and help from other teachers) I discovered that yes, I can play. You just need to work differently.

The Reality of Playing Double Bass With Small Hands

Most double bass methods assumes you have long fingers and can easily span positions. When you don’t fit that mold, traditional advice like “just stretch more” doesn’t help.

If you’re struggling with intonation and have smaller hands, you’re not alone. The challenge is possible you just need to approach technique differently than players with naturally large strong hands.

The good news? There are specific adjustments that make playing accessible for those of us who aren’t 6’5″ with giant hands.

3 Essential Rules for Bass Players With Small Hands

After years of working with different teachers, I found three fundamental principles that transformed my playing:

1. Keep Your Fingers Close to the String

This is crucial. The less distance your fingers travel, the more accurate and efficient your playing becomes. When you have smaller hands, you can’t afford wasted motion.

2. Fingers in a Curve

Maintaining curved fingers isn’t just about proper form—it’s about maximizing your reach and control. Collapsed or flat fingers reduce your effective span and make accurate intonation nearly impossible.

Think of your hand shape as creating an arch. This structure gives you stability and precision, especially important when you’re working with limited physical reach.

3. Relax Your Thumb to Make Shifts Smoother

A tense, gripping thumb is one of the biggest obstacles to smooth shifting. When your thumb clamps down on the neck, every shift becomes heavy and slow.

Your thumb should act as a gentle pivot point, not a vise grip. This relaxed approach makes shifting more fluid and accurate—essential when you need every advantage you can get.

Why Ear Training Fixes Bass Intonation Problems

Here’s the truth that changed everything for me: knowing where you’re going matters just as much as how you get there.

You need to know what note you’re looking for. Have it in your mind. Sing it.

I’ll be honest—I hated singing. I was so embarrassed.

But you have to do it. Turn singing into something fun (or at least tolerable) and little by little, train your ear.

Why Ear Training Is Critical for Intonation

When you can’t rely on hand size alone, you need exceptional ear training. You can’t afford to play a note, check the tuner, and adjust. You need to aim accurately from the start.

This is where conscious intonation comes in: listening and singing before you play. Not just looking for “green on the tuner,” but actually hearing the pitch in your head first.

Start With the Most Basic Thing: Scales

The best place to begin ear training is with something simple and foundational: the C major scale.

I’ve created a piano accompaniment specifically for this practice. It’s 2 octaves, whole notes at 60bpm (4 beats per note).

Here’s the exercise:

1. Listen to the first 2 beats of each note
2. Sing them out loud (yes, actually sing—I know it feels awkward)
3. Play the next 2 beats while keeping the singing going
4. Repeat with each note

Here the piano accompaniment for you

This exercise trains your ear for conscious intonation. You’re not just playing notes mechanically—you’re hearing them first, internalizing the pitch, and then executing.

Save this audio because I’m going to share more exercises with it in future lessons.

Bass Intonation With Small Hands: Your Questions Answered

“Will I ever be able to play as well as someone with big hands?”

Yes. I’ve played professionally for over 20 years. My hand size hasn’t changed, but my technique and ear training have improved dramatically. What you lack in physical span, you compensate for with precision, planning, and listening skills.

“Is it normal for my left hand to get tired quickly?”

If your hand fatigues fast, it usually means too much tension—especially in the thumb. Work on the relaxation techniques above. Also, building endurance takes time. Be patient with yourself.

“Should I look for a smaller bass?”

Not necessarily. A properly set-up 3/4 size bass works for most adults, regardless of hand size. Focus on technique first before assuming equipment is the problem.

Your Path Forward

If you struggle with intonation and have smaller hands, remember: this instrument can be for you.

The key is finding teachers and methods that acknowledge your physical reality and teach you to work with your body, not against it.

Start here:

• Practice the three position rules (fingers close, curved, relaxed thumb)
• Download the C major scale accompaniment
• Commit to singing exercises even if they feel uncomfortable
• Give yourself time—this is skill-building, not a quick fix

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Final Thoughts

My teacher was wrong. The instrument is for me. And it’s for you too.

You just need to find the approach that works for your hands, your body, your strengths.

Do you have intonation problems? Is it hard to reach positions? Does your left hand get tired?

You’re not alone, and these challenges are solvable.

Practice the C major scale exercise this week. Sing out loud. Keep your fingers curved and close to the string.

Little by little, you’ll hear the difference.

Want 1:1 help with your bass technique?