For the devoted classical and fingerstyle guitarist, the name Noriyasu Takeuchi resonates with a unique blend of technical rigor and whimsical eclecticism. While many know him for his masterful transcriptions of Japanese anime music (Joe Hisaishi’s Spirited Away) or his rigorous editions of Baroque masters, a deeper cut in his discography has recently sparked a cult following: “Popular Pieces for Guitar Solo Vol. V” – specifically, the cryptic triptych of tracks titled Atomix, Scarie, and Mamado.
If you have typed the search string “noriyasu+takeuchi+popular+pieces+for+guitar+solo+v+atomix+scarie+mamado” into a search engine, you are likely not a casual listener. You are a performer hunting for sheet music, a student puzzled by a teacher’s assignment, or a collector trying to decipher Takeuchi’s most experimental output. This article is your definitive guide.
Musical Character: Aggressive, percussive, microtonal. For the devoted classical and fingerstyle guitarist, the
“Atomix” (note the ‘x’ suggesting a fusion of “atomic” and “mix”) opens Volume V with a shock. Gone is the polite, rolled-chord phrasing of Takeuchi’s Hisaishi arrangements. In its place: a barrage of tambora (hitting the strings with the thumb nail), left-hand hammer-ons from nowhere, and sudden silences.
Why it’s popular among soloists:
Performance challenge: The middle section features a glissando across unnatural harmonics, creating a “theremin-like” wail. Classical guitarists who master “Atomix” often use it as a recital opener to prove their modernist credentials.
Here is the frustration captured by your keyword search. The sheet music for “Popular Pieces for Guitar Solo Vol. V” is out of print. Zen-On Music Company (Takeuchi’s primary publisher) has kept Volumes I–IV in circulation, but Volume V disappeared from catalogs around 2016. Pro tip: If you find a copy, check the fingering
Where to look:
Pro tip: If you find a copy, check the fingering. Takeuchi’s left-hand notations are notoriously minimal, assuming a high level of fluency. Expect to pencil in your own solutions for stretches beyond the 12th fret. left-hand hammer-ons from nowhere