Scott GiambussoScott, a native Washingtonian, has been performing for audiences since 1968. A self taught musician, he mainly freelances as an acoustic bassist. Scott also plays guitar, electric bass, and tuba as well as singing in the styles of Nat King Cole, Mel Torme and Jack Bruce. He has worked with The Glenn Miller Orchestra and The Modernaires; The Peter Duchin Orchestra; The Ink Spots; The Tokens; Rory (Disney Channel); Charlie Byrd; Susannah McCorkle; Keely Smith, Jamey Aebersold and Chuck Berry. In spring '07 he performed in a clinic and show with Gene Bertincini at the 4 Seasons DC. Besides playing jazz, Scott's latest project is a Cream tribute band featuring Dan Hovey and John Zidar, (formerly Root Boy Slim's rhythm section). The band is called GHz (Gigahertz} and is breaking sound barriers around town. Besides playing over 200 club dates a year, Mr. Giambusso teaches and performs as a member of the Jazz Faculty of the Montgomery College Music Department. Not only does he teach the bass, but he also coaches singers, pianists and all instrumentalists on the nature of music and operates a recording studio for student demos. Because of his versatility, knowledge of tunes and styles, and his 30+ years of gigging experience, he has the rare ability to explain music to the laymen with clarity of vision.
Scott Giambusso: Scott Giambusso here, showing you some bass techniques. Today, I want to discuss a basic standard rock pattern that actually has been played for years and years, but it can have many variations. What we are going to do is play two different fingerings for the same thing. I'm going to go to an A note on the fourth string on the fifth fret. There is A, and I'm going to play just to get the opening the part. I'm going to reach to the flat three and slide into the third. When you are comfortable with that, we are going to add the fifth. So, that's the first part of it. As you see what I was doing I was reaching with my first finger, a minor third, slid into the third, reached up to the fifth then went back to the minor third and slid up and that was if the whole piece. The next section would be to add the sixth. So, we are going to go, so we go six, five, the number system is ultimately important, one, one, flat three, three, five, five, six, five. This is kind of a fundamental rock rhythm and there are a lot of variations of this. The whole idea of music is to gain vocabulary, everything has been done. If you can come up with something new you are a bigger genius than a lot of people. Then we can crank that up and take it to the chords and there it is.