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Genres You Will Love
New Age: Meditation Moods: Spiritual World: Japanese traditional Moods: Solo Instrumental World: Japanese contemporary

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Born in Argentina (1978). Rodriguez arrived to Spain in 1986, where
he spent most of his childhood. At an early age, he began to study
modern and classical music.

Between the years of 1993-1999, Rodrigo tutored at home enrolled
with several teachers of classical guitar until he was 22 years old.

Rodrigo's professional music career began in Spain. It was there
that he discovered his first asian instrument the Shakuhachi flute(, a
Japanese bamboo flute used by Buddhist monks in meditation practices).
Fascinated by Japanese music, he travelled to Japan
several times to enhance his knowledge.

He studied classical and traditional Japanese music under the
lineages of Katsuya Yokoyama with the Master Kakizakai Kaoru in the
International Shakuhachi Kenshu-kan School. His interest in
traditional and ethnic musical instruments began before he reached
his teenage years.

As a young child, Rodrigo had a vision for imitating the music and
sounds he heard in his mind. His many and diverse travels enabled
him to acquire a rare collection of experiences from which to create
his unique compositional language.

Since 2004, Rodrigo has been the first musician in Japan to
introduce innovative and developed instruments from European countries.
For example, the Hang Drum, which significantly influenced
his music and its composition, altering Japanese audiences' perception
of 21st century sounds and their textures.

Rodrigo's compositions can be divided into three basic
categories:New Age, World Music and Contemporary Music.

In recent years he has performed numerous concerts in both the
West and the East, at legendary stages like Imperial Hotel Tokyo
and NHK Culture Center of Japan.

In the late 2009 Rodriguez started to study with the renowned master
of Japan's leading players of shakuhachi Miyata Kohachiro,interested
in Contemporary and Koten Shakuhachi. Rodrigo showed deep
interest and dedication to Miyata's compositions and repertoire.

Thereafter, he resolved to study all types of traditional Japanese
music, paying special attention to the differences between the two
very different musical traditions