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私は長年の演奏・教育活動の中で、一貫してギター音楽の "表現の可能性" を追求してきました。この”表現の可能性” というのは、音楽ジャンルから奏法・音色までそれぞれにおいて、特定のジャンルやスタイルにとらわれない ”ギター音楽の多様性の研究” を意味しています。このページでは、今までの経験をまとめつつ、今後の更なるギター音楽表現の可能性についても記述したいと思います。

Throughout my long career in both performance and education, I have consistently pursued the "possibilities of expression" in guitar music. This concept of "possibility of expression" encompasses a study of the diversity of guitar music, extending from musical genres to techniques and timbres, and signifies an exploration not confined to any specific genre or style. On this page, I aim to summarize my experiences so far and also delve into the future possibilities of expression in guitar music.



 * ギターシンセサイザーは、Godin guitar と Roland Gr-55 synthesizer system を使用。

Research Report of Guitar Techniques and Sounds 
"Techniques of Jazz and Popular Guitar Performance with Fingerpicking style and Sound Characteristics Utilizing Synthesizers"   * This study is being conducted using the Godin guitar and Roland GR-55 synthesizer system.

2020年2月〜2022年8月の期間は、1st. ギター、2nd.ギター、パーカッションの編成によるライブ演奏を実施した。この期間は、ジャズやポピュラーのみでなくセミ・クラシックのレパートリーも演奏することで、より広域なジャンルにおけるギターシンセサイザーと生音の効果とバランスを検証することができた。研究ライブとしては、全7回行い、すべての会場でアンケート調査を実施した。


From February 2020 to August 2022, live performances were conducted with a lineup consisting of 1st guitar, 2nd guitar, and percussion. During this period, by performing not only jazz and pop but also semi-classical repertoires, it was possible to examine the effects and balance of guitar synthesizer and acoustic sounds across a broader range of genres. As research live performances, a total of seven sessions were held, and surveys were conducted at all venues.


From November to December 2023, I conducted three live performances to explore the effects of guitar synthesizer sounds with different arrangements and playing styles. In this new setup, we focused on performing session-style pop, funk, and jazz centered around guitar, bass, and drums. I examined the balance between synthesizer sounds and live sounds in a more traditional band session format. These performances served as a preparatory stage, selecting repertoires necessary for synthesizer sound color research and investigation. However, the video recordings revealed more ideas and challenges than expected. I plan to continue various experiments with this arrangement beyond 2024.

2020年2月〜2023年12月、それまでのアコースティクギタースタイルから一変して、新たにサウンドの試みとして行ったのが、ギターシンセサイザーを使用した音色の研究である。これはアンケート調査および演奏映像記録から得られた結果をもとに、以下のポイントに分類してして実施した。( Clickからそれぞれの解説ページへ移動します)​

1. シンセサイザーで作り出される他の楽器や人声の擬似音を、本来のギター音色(生音)とブレンドする → Click

2. それらをどの程度の割合で融合するか → Click

3. どのようなジャンルでそれぞれの音色が活かせるか(ジャンルの特性にマッチするか)→ Click

4. 音色とリズムの関係 → Click

5. 他の楽器や人声の擬似音だけでなく、完全なシンセサイザー音色とギター生音とのブレンド効果はどうか → Click


From February 2020 to December 2023, I undertook a study of timbre using guitar synthesizers as an attempt to explore new sounds. This was carried out based on the results obtained from a questionnaire survey and performance video recordings, categorized into the following points:  * Click to go to each explanation page

  1. Blending the simulated sounds of other instruments and human voices created by the synthesizer with the original guitar timbre (acoustic sound). Click

  2. Determining the appropriate ratio for blending these sounds. Click

  3. Identifying which genres each timbre can enhance (and whether it matches the characteristics of the genre). Click

  4. The relationship between timbre and rhythm. Click

  5. The blending effect of not only simulated sounds of other instruments and human voices but also the full synthesizer timbre with the acoustic guitar sound. Click


2016年〜2020年 ​

Coming Soon..

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