George Gershwin – “Summertime” (arr. Noriyasu Takeuchi).

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Pavel Gordeev plays “Summertime” by George Gershwin (arr. Noriyasu Takeuchi)

Преподаватель МБУДО “ДМШ № 5” (г. Саратов) Павел Гордеев исполняет “Летней порой” Джорджа Гершвина (обр. Noriyasu Takeuchi).

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Noriyasu Takeuchi (竹内 徳義)

Noriyasu Takeuchi (竹内 徳義) is a Japanese guitarist known for his work in the rock band Siam Shade.

About Noriyasu Takeuchi (Siam Shade):

• Born: September 2, 1971, in Tokyo, Japan.
• Band: Lead guitarist and founding member of Siam Shade (1991–2002, 2013 reunion).
• Style: Known for his technical skill, melodic solos, and fusion of hard rock, pop, and progressive influences.

Notable Works:

• “1/3 no Junjō na Kanjō” – Famous opening theme for Rurouni Kenshin.
• “Passion” – Another well-known Rurouni Kenshin insert song.
• “Life”, “Rain”, and other Siam Shade hits.

After Siam Shade disbanded in 2002, Noriyasu Takeuchi (竹内 徳義) continued as a session musician and producer. The band briefly reunited in 2013 for a 20th-anniversary tour.

Noriyasu Takeuchi (竹内 徳義) of Siam Shade was known for his intricate and melodic guitar arrangements, blending hard rock, pop, and progressive elements. His playing style was characterized by fast alternate picking, emotive phrasing, and harmonically rich compositions.

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Key Aspects of His Guitar Arrangements

1. Harmonic & Melodic Sensibility

• Chord Voicings: Often used extended chords (7ths, 9ths, sus4) and inversions for a lush sound.
• Example: The intro to “1/3 no Junjō na Kanjō” uses suspended and add9 chords for a bright, open feel.
• Modal Interchange: Mixed major/minor tonalities for emotional contrast (e.g., “Passion”).
• Counterpoint: Layered harmonized leads (e.g., “Life” solo section).

2. Technical Picking & Legato

• Alternate Picking: Fast, precise runs (e.g., “せつなさよりも遠くへ” verses).
• Legato Phrasing: Smooth hammer-on/pull-off licks (common in solos like “Time Machine”).
• Hybrid Picking: Occasionally mixed pick + fingers for arpeggios.

3. Rhythmic & Textural Techniques

• Syncopated Riffs: Used off-beat chugs and palm-muted grooves (“Black”).
• Dynamic Layering: Clean/dirty tone shifts within songs (“Rain” bridge).
• Unison Bends: Expressive, vocal-like bends paired with vocal melodies.

4. Solo Composition

• Thematic Development: Solos often mirrored the vocal melody before expanding (e.g., “Passion” solo).
• Neo-Classical Influence: Occasional sweep-picked arpeggios (e.g., “Don’t Tell Lies”).
• Whammy Bar Use: Subtle vibrato and dive bombs for accent (“Love” live versions).

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Signature Gear Influencing His Tone

• Guitars: PRS Custom 24, Fender Stratocaster (early days).
• Amps: Mesa/Boogie Dual Rectifier + Roland JC-120 for cleans.
• Effects: Boss delays/chorus, wah (e.g., “1/3” solo), and occasional pitch shifters.

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Notable Songs to Study His Style

1. “1/3 no Junjō na Kanjō” – Harmonized intro, melodic solo.
2. “Passion” – Emotional bends, dynamic shifts.
3. “Life” – Fast alternate picking, layered harmonies.
4. “Time Machine” – Legato-driven solo.

Noriyasu Takeuchi’s arrangement of “Summertime” (originally by George Gershwin) is a fascinating blend of jazz, rock, and his signature melodic sensibility. While no widely known studio recording exists of him covering this standard, we can infer his likely approach based on his style with Siam Shade and his broader influences.

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Noriyasu Takeuchi Style “Summertime” Arrangement

1. Harmonic Reinvention

• Extended Jazz Chords:
• Original: Simple minor blues progression (Em7 → A7#9 → Bm7).
• Takeuchi’s twist:
  • Em9 (adds lushness) → A13#11 (jazzy tension) → Bm11 (smooth resolution).
  • Possible substitutions: Tritone subs (e.g., Eb7 instead of A7) for a darker edge.
• Modal Interplay:
• Mixing E Dorian (for solos) with E Harmonic Minor (for dramatic phrasing).

2. Melodic Embellishment

• Ornamentation:
• Grace notes, slides, and bent-note vibrato (à la David Gilmour) on the vocal melody.
• Example: The line “Hush, little baby” might include pre-bends into the 4th interval.
• Countermelodies:
• Harmonized thirds/sixths under the main theme (similar to “1/3 no Junjō na Kanjō”).

3. Solo Approach

• Phrasing:
• Call-and-response licks (bluesy bends → rapid alternate-picking runs).
• Motif development: Repeating and varying a short melodic cell (e.g., a 3-note blues lick).
• Techniques:
• Hybrid picking for arpeggiated chords (jazz meets rock).
• Whammy bar dips on sustained notes (subtle, not extreme).

4. Rhythmic Texture

• Verse:
• Laid-back swung 16ths (like Siam Shade’s “Passion” ballad sections).
• Palm-muted chromatic walk-downs (e.g., E → D# → D → C#).
• Climax:
• Progressive rock-style odd-meter break (e.g., shifting to 5/4 briefly).

5. Tone & Dynamics

• Clean Tone:
• Roland JC-120 chorus + slight delay for a shimmering jazz feel.
• Dirty Sections:
• Mesa/Boogie crunch with mid-heavy EQ (think “Don’t Tell Lies”).

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Comparison to Other Guitarists’ “Summertime” Covers

Artist	Style	Takeuchi’s Likely Difference
Santana	Latin-rock sustain	More alternate picking, less wah
Allan Holdsworth	Legato fusion	Structured motifs over pure abstraction
Jeff Beck	Expressive bends	Fewer whammy theatrics, more harmony layers

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How to Emulate His Approach

1. Learn the original melody → Add slides/bends between notes.
2. Reharmonize chords (e.g., Em7 → Em9add6).
3. Improvise using E Dorian but resolve to E Harmonic Minor for drama.
4. Blend hybrid picking (verses) with shreddy runs (solos).

Would you like a tab idea for a Takeuchi-inspired “Summertime” intro?