- Видео 19
- Просмотров 30 502
Yuri Goloubev
Великобритания
Добавлен 7 янв 2010
One of the most interesting and sought-after jazz double bassists in Europe, Yuri Goloubev has toured nearly 60 countries across continents appearing at such venues as Carnegie Hall in New York, Suntory Hall in Tokyo, Barbican Centre in London, Sydney Opera House, Berlin Philharmonie, Theatre des Champs Elysees in Paris and festivals as Montreux Jazz Festival, Umbria Jazz, London Jazz Festival, North Sea Jazz, Festival of Perth, Jazzahead, Boheme Jazz - to name just a few. His collaborations include various household names - Bob James, Till Brönner, Kenny Werner, Ralph Towner, Billy Kilson, Julian Arguelles, Norma Winstone, Wolfgang Muthspiel, Paolo Fresu, Enrico Pieranunzi, Gwilym Simcock, Pablo Held, Tim Garland, Rosario Giuliani, Rick Margitza and others.
A couple of thoughts on fingerings in two-octave scales ;)
…just trying to make our life easier….as usual!
Просмотров: 567
Видео
Tutorial 9: some tips on how to better control your sound with your LH
Просмотров 1 тыс.2 года назад
Tutorial 9: some tips on how to better control your sound with your LH
Tutorial 8: Some Aspects of the Jazz Bass Soloing Technique
Просмотров 1,9 тыс.3 года назад
A closer look into how to handle bass solos from the technical perspective (RH)
Barring two strings with one thumb..? Answering your question ;)
Просмотров 5113 года назад
Features a little and very useful fingering tip!
A Soviet 1960-s factory-made bass
Просмотров 8553 года назад
For those who haven’t seen this video on my FB, and to “complement” my video of a Hungarian bass, here is my arco “test-drive” of a Soviet early 1960-s factory-made bass. I was quite impressed by its response, but i believe it was rather a “one-off” luck of coming across a really nice example of a mass produced instrument.
Tutorial 7: basics of the RH comping technique
Просмотров 8703 года назад
Discussing some basic approaches to the jazz comping: how to pluck, how and where to keep your hand, and so forth. Hope you’ll find it useful; the next video will be dedicated to the RH technique for jazz soloing☝🏼😉
Another Budapest bass
Просмотров 7443 года назад
For those of you who watched my recent interview for the Discover Double Bass website - here’s another bass of the same Budapest maker. I had sold it to a friend here in Italy some time ago, and now he has kindly permitted me to use it for a couple of recordings I have here these days (thank you, Guido Bergliaffa!)
Tutorial 6: More Thumb Position Techniques
Просмотров 1,6 тыс.3 года назад
Some tips about the position technique in that area of the instrument, as well as the “crabbing” shifting.
Tutorial 5: Thumb Positions Shifting Techniques
Просмотров 1,7 тыс.4 года назад
Let’s take a closer look into how to get around in the thumb positions!
Tutorial 4: Shifts Into Thumb Positions
Просмотров 1 тыс.4 года назад
Some tips on how to make sure they are efficient and feel natural
Tutorial 3 - Appendix: shifts across an open string
Просмотров 5704 года назад
Tutorial 3 - Appendix: shifts across an open string
Tutorial 3: Shifts!
Просмотров 1,8 тыс.4 года назад
Some explanation on how to correctly “operate” your LH when changing positions
Tutorial 2: Some Double Bass Set Up Tips
Просмотров 10 тыс.4 года назад
Here’s the “sample” of my low action sound, as anticipated in the video: www.dropbox.com/s/12bytra02gkewty/08 Vocalise.mp3?dl=0 Vocalise (Yuri Goloubev), from the album Floatin’ In - Roberto Olzer Quartet feat. Fulvio Sigurtà (tp), Roberto Olzer (p), Yuri Goloubev (db), Mauro Beggio (dr)
Tutorial 1 - Basics: How To Put Hands On The Double Bass Correctly
Просмотров 2,2 тыс.4 года назад
Here I am showing the basic grips - how to correctly place hands on the double bass. Very important! :) Please, stay tuned for more tutorials coming out shortly.
G. Bottesini - Reverie...with some improv!
Просмотров 5305 лет назад
G. Bottesini - Reverie...with some improv!
Andrei Kondakov & Yuri Goloubev, September 3, JFC Jazz Club, St. Petersubrg
Просмотров 1,4 тыс.6 лет назад
Andrei Kondakov & Yuri Goloubev, September 3, JFC Jazz Club, St. Petersubrg
What about the height of the strings at the nut?
Hello Yuri, is it good idea that the strings also pop out by half diameter from the upper nut ?
@@analizandoliteratura9958 hey there, yes, this is how it normally is, and the same relates to the bridge (as we anyway know) :) (To avoid “sinking” the string too much into the wood which is never good for the sound.)
@@yuriobass Thanks for the information
Ahhh now this is genius. Brilliant. Simple but who else would of thought.
Makes so much sense to me. Thanks a ton!
Yeah I've always struggled with that. Thanks for the tip!
Yeah Yuri!
Saw you on Discover Double Bass! So glad I'm aware of your channel now. Keep up the outstanding playing and teaching!
Man!
When you're playing in thumb position, is the back of the neck (sometimes) touching your shoulder/collarbone area?
Of course; not sometimes - all the time :) The neck is actually resting on the shoulder whilst you play in thumb position!
@@yuriobass Thanks, I find myself doing that but didn't know whether it was correct.
@@sonofmagni3192 basically….anything that feels natural is correct….well, almost! :)
Cudos to the double bass player,Goloubev is one the best jazz badasses I've heard live.
Thank you, and again, great videos.
I enjoy your playing and instructional videos. I had one bass teacher, a classical soloist, who indicated like you, that the thumb fall on the knuckle. Every other person or teacher has said avoid the knuckle and use the fleshy part of the thumb. Since in my world you are in the minority, what is the benefits of using the knuckle? Thank you
Hi Steven, and thank you very much for your words! As for the knuckle of the thumb - actually, I am surprised there are apparently many players that would use the fleshy part… There are two main benefits of using the knuckle - as I see it: 1) The knuckle slightly sticks out, so using it is more natural and would require less effort, and 2) It is way harder than the “flesh” - so, once again, easier to use, plus you don’t need to painfully “grow” calluses These two factors make shifting easier and smoother as well!
You said you use, "3, 4,5, 6mm", low action. Is this measured as height of string above fingerboard at end of FB. near the bridge, or where, exactly? I'm a pizzicato style bluegrass upright bass player, I don't bow at all. Could I apply this same very low action into the bluegrass genre of music or would the bass volume be too low for practical purposes? Thanks much. Great video.
Great video! - did you ever study with Chris West Yuri?
Thank you! No….actually, I don’t even know his name I’m afraid… will check him out!
Love your channel.
Какая мензура у инструмента ?
106.5
Thank you so much for sharing such great lesson! very practical!
#basslife #indieartists
10 min into practicing these and i immediatly see vast improvement!! Wow this makes so much sense! Thank you so much Yuri!
Hello Yuri So is this a straight fingerboard now? Or is this a different bass. I‘m a bit hesitent to plain my board straight because a fear I couldn‘t play arco like this anymore? On the other side I imagine a straight board heavenly to play 😁 I‘d really like to hear your answer on this and if possible, could you please make the video where you plain the fingerboard. Thank‘s, I enjoy your videos a lot, keep going!!! Oliver
Hey Oliver, I think at the time this video was made, it still had an old (painted) board which wasn’t very straight, but I did replace it with a proper ebony one, and I did plane it down so it is straight - like on all of my basses, and they are perfectly ok to be bowed :)
PS: I do not plane it myself - unless it is just to eliminate a few humps. I use a tool knife blade for this, but you have to be very careful doing it. The basic rule is: check where the buzz is, and go down the string. There is a hump (or all the board goes up) where the noise disappears ;)
Tremendo contrabajista!!!! Bravo!!!!
Thank you, Yuri. This was quite helpful in showing how subtlety & nuance in technique is key to musical expression. I ALWAYS find your videos informative.
Doug, many thanks for your kind words! :)
What do you think of players like Ron Carter and Buster Williams who often play quite big/long glissandos? Maybe it's a matter of taste but I don't think they are cheesy
True, and - while recording my video, exactly these two artists did spring to my mind as examples of a successful use of glisses! But… what do they have in common - technically? ;) (rather - gear wise)
(I should have probably mentioned this detail in my video….)
@@yuriobass low action and the La Bella strings?
@@JackGarside yes, La Bella, that’s exactly what I meant! (Not sure what sort of action they have, actually). A totally different type of sound!
Another great video from Yuri!
Very important to be mindful of these things. IMO! Playing the head as clearly as possible without ornamentations while singing along for a few choruses usually helps me break out of old and possibly poor sounding habits. Cпасибо вам большое)
Your sound is so tasty, so beautiful!
Thank you :)
Thank you, Yuri!
Interesting ! Ornementation is such a deep and underrated subject. And really instrument dependant... Really useful, thank you
Thank you! Indeed, there are some topics that aren't widely discussed whereas they can be totally worth taking a look at! Of course the way such things work/sound does depend on the instrument, but I think that also the set up is of a paramount importance here.
Master bassist
Thank you, Yuri
11 years ago omg
Please post a hundred thousand #short vids too so that everybody in the world would subscribe to you 💖💖💖
SHEEEEESH we got a full concert out here guv 💖💖💖
Excellent!!!!
Please post MORE
Another excellent one!
Please keep posting 💖
EXCELLENT
THIS is the right format. Please post 10 of those a day!!! 💖💖💖
But does it speak any magyar? 😂
Another excellent video!!!
Post more shorts sir!
Guess I also gotta get a double bass now that I know your channel exists 😂😂😂
Please keep posting!
Also I hear posting short (less than a minute) vertical (9:16) videos with chops or jokes helps your RUclips channel grow like crazy 😜😜😜 I obviously subscribed, btw
Вы фантастический музыкант! Спасибо Антохе Давидянцу, что он нам Вас показал!
Благодарю! :) Антону привет ;)
Hi Yuri, thanks for this, it's the first time i see something explained properly and not just following some old info from a book. I actually have an upright bass that i basically stopped playing because the scoop was too big (almost 4mm on the G string) and that was set up by a luthier... When i tried to explain to him the scoop seemed too big, he just did not understand what i meant... Anyway, my question is this: would you agree that a flat fingerboard also helps getting that "growl" effect? You know that sound that ie very present on fretless electric basses. I realised that this effect just vanishes when the action is too high and then the bass just sounds like big thumps with very little sustain.
Arnaud, many thanks for your message! Indeed. to convince luthiers to do a flat board is often extremely hard, it somehow goes against their instinct...which has always been a bit of a mystery for me! :) As for the sound: yes and no - I believe there are several factors: the shape of the board (yes), the strings and the instrument itself. For example, many of the turn of the Century German basses just won't work in jazz, as they were built for a totally different type of music. Same applies to some precious old Italian basses, for example... But - the fingerboard shape is certainly one of the factors that helps you get a fretless-like sustain!
@@yuriobass Thanks a lot for your answer man! That confirms what i thought! I might know a luthier that will be willing to do so! As long as i get that "fretless like" sustain, i'll be happy with the sound of my bass (which is far from an old Italian one ;) !
@@yuriobass And i just got my DB back from the luthier, and with a 1mm scoop on the G gradually going to 2mm one on the E string (this is a 1/2 DB) i'm VERY happy with the sound, so thanks a lot for your help again!
could you talk about your left hand technique? I understand that there is a slight tendency (happily) to mix the traditional views of Simandl, Bille and even Rabbath (pivots, etc)
Hi Flavio, yours is an interesting observation, thank you! I did think that I should perhaps do a video about fingerings and various schemes… I’ll need to sit and think of good examples that can illustrate my approach (such things as trying not to shift “against” the phrase, opt for minimal distances whenever possible, use pivoting, as you justly pointed out, etc). I’ll probably do that shortly, thanks again!
@@yuriobass I find the theme very interesting, since many double bass players have been clinging to techniques that are valid but need a new approach, an update. a more comprehensive vision that helps us to go in favor of what current music demands. Thank u so much, Maestro!
Если б можно было бы поставить больше чем один лайк!!!!!! Спасибо!!!!!!!!!
)))) Спасибо!
Thank you so much maestro !!!