How Jess Lewis Mastered Room 335: A PDF Guide to His Guitar Techniques
If you are a fan of jazz fusion guitar, you have probably heard of Jess Lewis, a young and talented guitarist who has amazed many people with her skills and style. Jess Lewis is best known for her cover of Larry Carlton’s Room 335, a classic tune that showcases the smooth and sophisticated sound of fusion guitar.
But how did Jess Lewis learn to play Room 335 so well? And what can you learn from her guitar techniques? In this article, we will explore Jess Lewis’ Room 335 PDF, a document that contains the tablature and notation of her solo improvisation over the song. We will also give you some tips and tricks to improve your guitar skills by studying her PDF.
What is Jess Lewis’ Room 335 PDF?
Jess Lewis’ Room 335 PDF is a file that you can download from Scribd, a website that allows you to read and share documents online. The PDF contains the transcription of Jess Lewis’ solo over Room 335, which she recorded with Alex Hutchings, another fusion guitar master.
The PDF was created by Alex1, a user who uploaded it to Scribd in 2020. The PDF has nine pages and includes the following information:
- The tuning of the guitar (EADGCF)
- The chords of the song (Bm7, Aadd9, D7#5, Dmaj7, etc.)
- The tempo of the song (127 bpm)
- The tablature and notation of Jess Lewis’ solo
- The fingering and picking indications
- The slides, bends, hammer-ons, pull-offs, and other articulations
The PDF is very detailed and accurate, and it shows how Jess Lewis played every note of her solo. You can use it as a reference to learn her guitar techniques and apply them to your own playing.
Why should you study Jess Lewis’ Room 335 PDF?
Studying Jess Lewis’ Room 335 PDF can help you improve your guitar skills in many ways. Here are some of the benefits of learning from her PDF:
- You can learn how to play jazz fusion guitar, a style that combines elements of jazz, rock, funk, blues, and other genres.
- You can learn how to improvise over complex chord progressions and use different scales and modes.
- You can learn how to use various techniques such as alternate picking, sweep picking, legato, tapping, hybrid picking, etc.
- You can learn how to create melodic and expressive solos that match the mood and feel of the song.
- You can learn how to develop your own style and voice on the guitar by studying how Jess Lewis expresses herself through her playing.
Studying Jess Lewis’ Room 335 PDF can also inspire you to practice more and challenge yourself to play better. You can use her PDF as a guide to practice along with the backing track or jam with other musicians. You can also try to create your own solos over Room 335 or other songs using her techniques.
How to study Jess Lewis’ Room 335 PDF?
Studying Jess Lewis’ Room 335 PDF requires some patience and dedication, as it is not an easy piece to play. However, if you follow some steps and tips, you can make the most out of her PDF and enjoy learning from it. Here are some suggestions on how to study her PDF:
- Download the PDF from Scribd and print it out or view it on your device.
- Download the backing track or the original recording of Room 335 by Larry Carlton or by Jess Lewis and Alex Hutchings.
- Listen to the song and the solo several times and try to get familiar with the structure, the chords, the melody, and the rhythm.
- Start by learning small sections of the solo at a slow tempo and gradually increase the speed until you can play them at full speed.
- Pay attention to the details such as the fingering, the picking, the articulations, the dynamics, and the tone.
- Practice each section until you can play it smoothly and accurately without mistakes or hesitation.
- Connect the sections together and practice playing the whole solo from start to finish.
- Use a metronome or a drum machine to keep time and groove while playing.
- Record yourself playing the solo and listen back to check your accuracy, timing, expression, etc.
- Analyze the solo and try to understand how Jess Lewis used different scales, modes, arpeggios, etc. over each chord.
- Try to memorize the solo or at least the main ideas and phrases.
- Experiment with different variations of the solo by changing some notes, rhythms, techniques, etc.
- Create your own solos over Room 335 or other songs using Jess Lewis’ techniques or your own ideas.
Studying Jess Lewis’ Room 335 PDF can be a fun and rewarding experience if you follow these steps and tips. You will not only learn how to play her amazing solo but also improve your overall guitar skills and musicality.
What are some tips and tricks to play Room 335 like Jess Lewis?
Playing Room 335 like Jess Lewis is not an easy task, but it is possible if you practice hard and follow some tips and tricks. Here are some of them:
- Use a clean tone with some reverb and delay to create a smooth and spacious sound.
- Use a semi-hollow or hollow body guitar to get a warm and rich tone.
- Use hybrid picking (using both the pick and the fingers) to play faster and smoother lines.
- Use legato (hammer-ons and pull-offs) to create fluid and continuous phrases.
- Use tapping (using the right hand fingers to fret notes on the fretboard) to play wide intervals and arpeggios.
- Use sweep picking (using one continuous motion of the pick across the strings) to play fast and smooth arpeggios.
- Use chromaticism (using notes outside of the scale) to create tension and interest.
- Use octaves (playing the same note on two different strings) to create a fuller and thicker sound.
- Use double stops (playing two notes at the same time) to create harmony and melody.
- Use slides, bends, vibrato, and other articulations to add expression and emotion.
These are some of the techniques that Jess Lewis used in her solo over Room 335. You can practice them separately or combine them together to create your own licks and phrases.
What are some examples of Jess Lewis’ licks over Room 335?
To give you some inspiration and ideas, here are some examples of Jess Lewis’ licks over Room 335. You can find them in her PDF or watch her video to see how she played them. You can also try to play them yourself or modify them to suit your style.
Lick 1: This lick is played over the first four bars of the song, which are Bm7, Aadd9, D7#5, and Dmaj7. Jess Lewis uses hybrid picking, legato, tapping, and chromaticism to create a fast and smooth line that outlines the chord tones and adds some tension. She starts with a B minor pentatonic scale on the B string, then taps a D note on the high E string with her right hand middle finger. She slides down to an A note on the B string, then taps an F# note on the high E string with her right hand ring finger. She continues this pattern until she reaches the D7#5 chord, where she taps a C note on the high E string with her right hand pinky finger. She then slides down to a Bb note on the B string, then taps an Ab note on the high E string with her right hand pinky finger. She finishes the lick with a slide up to a D note on the B string over the Dmaj7 chord.
Lick 2: This lick is played over the next four bars of the song, which are Aadd9/C#, Bm7, C#m7, and Dmaj7. Jess Lewis uses sweep picking, legato, octaves, and double stops to create a melodic and harmonic line that follows the chord changes. She starts with a sweep picking arpeggio of Aadd9/C#, which is C#, E, A, B, E on the A, D, G, B, and high E strings. She then slides up to a B note on the high E string over the Bm7 chord, then plays a legato phrase using B minor pentatonic scale on the high E and B strings. She then plays an octave of C# on the G and high E strings over the C#m7 chord, then slides up to an octave of D on the same strings over the Dmaj7 chord. She then plays a double stop of F# and A on the B and high E strings over the same chord.
Lick 3: This lick is played over the last four bars of the song, which are Fmaj7, Cadd9/E, Dm7, Em7. Jess Lewis uses alternate picking, legato, chromaticism, and bends to create a bluesy and expressive line that ends with a climax. She starts with an F major pentatonic scale on the G string, then adds some chromatic notes between F and G. She then bends up a whole step from G to A on the same string over the Cadd9/E chord, then releases it back to G. She then plays a legato phrase using D minor pentatonic scale on the G and B strings over the Dm7 chord. She then bends up a half step from C to C# on the B string over
the Em7 chord, then releases it back to C. She then plays another legato phrase using E minor pentatonic scale on
the B and high E strings over the same chord. She ends
the lick with a bend up a whole step from G to A on
the high E string over
the same chord.