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 severals 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 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.

In 2006 several compositions from his album “Inner Thoughts” were licensed, arousing the interest of a well known record label, Gemini Sun Record based in Los Angeles, CA.

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.