'What do I do when I want to produce this sound and am unable to?' The book 'Grundlagen der Kontrabass-Technik' by Michael B. Wolf provides detailed answers to such questions.
With the help of a detailed programme, the pupil will quickly learn the purely technical elements which are indispensable for artistic expression. Topics such as bowing technique, change of position, vibrato, right-left coordination, intonation or performance preparation condense into an increasingly complex system that always takes all technical and intellectual aspects of sound generation into account. Although many techniques of this method represent a radical breach of tradition, they can be easily used for all double-bass methods and playing techniques.

Foreword
Section One: Weight and Posture
Varying effective weight
Progression of muscular support from back to arm
Progression of muscular support from hand to arm
Manipulating weight through posture
Posture and motion
Section Two: Motion Analysis
Types of motion
Fulcrum placement and inherent frequency
Active and passive modes
External and internal resistence
Sensory training
Compromises
Section Three: Simple Motions
Pectoral girdle
Upper arm
Lower arm
Wrist
Section Four: Complex Motions
Pectoral Girdle/Upper Arm
Upper Arm/Lower Arm
Lower Arm Extension/Rotation
Wrist/Fingers
Left hand fingers
Consecutive motions
Section Five: Right Hand Technique
Physics of the bowed string
Bow grip and weight
Tone production
Bow speed - Bow changes
String changes and double stops
Tone colour
Dynamics
Modes of bow motion
Bowings
Additional colours
Section Six: Fingering
The four-finger system
Left hand position
Left hand strength
Fingering patterns
Thumb position
Extansions
Contractions
Replacement
Trills
Fingered fourths
Using the thumb in the lower position
Harmonics
Choosing fingerings
Section Seven: Shifting
Analysis
The "short" shift
The "long" shift
"Borrowed" notes
Section Eight: Vibrato
Analysis
Execution
Vibrato and shifting
Vibrato and fingering
Vibrato as an expressive medium
Section Nine: Left Hand/Right Hand Coordination
Analysis
Fingering and bowing
Shifting and bowing
Shifting, fingering and bowing
Section Ten: Intonation
Analysis
Tuning the instrument
Ear and tactile training
Section Eleven: Scales and Modes
Tetrachord fingerings
Modal fingerings in the Lower Positions
Modal fingerings in the Thumb Position
Overview modal fingerings
Scales Studies
Short shift scales
Triplet patterns
Section Twelve: Practicing
Physiological basis of learning
The learning process
Practice principles
Practice techniques
Practice aids
Section Thirteen: Preparing for Performance
Practice vs. performance
Transition from practice to performance
Developing a Philosophy of Music