NUu for 20 double basses

The list of compositions for instruments/voices/electronics, fit with conventional concert formats. The list doesn’t include compositions for group of untrained voice performers, solo voice pieces, site-specific compositions and conceptual compositions because the list becomes too long and complicated.

In reversed chronological order

year/notation style/duration and description

The most of scores are available from the composer

*Some of notations are unusual. Video means a score written on a video medium, it doesn’t mean a video projection primarily.


Opera “Body without Organs (with Organ)” for Soprano, Countertenor, Violin, Cello, Ondes Martenot, Percussion, Organ and Conductor
2023/ 80minutes
Libretto written by GPT-J (AI) based on fragments by Antonin Artaud
The opera consists of conventionally notated short pieces and performative/improvisational parts with a conductor, a VR headset, ChatGPT and projection
Organum (Soprano, Countertenor, Violin, Cello, Ondes Martenot and Vibraphone)
Bagatelle (Ondes Martenot)
Humoresque (Cello)
Dance on his head (Ondes Martenot and Countertenor)
O reche modo (Voices and Bass Drum – Xylophone)
Chorale (Ondes Martenot, Bass Drum, Voices, Violin and Cello)
Toccata (Vibraphone)
Capriccio (Amplified Violin and Drumset)
Noise of the sea (Soprano and Organ)
Commissioned by No Hay Banda


String Quartet No.42 for string quartet, percussion and voice
The first movement has Darbuka part
The second movement has Voice part
Commissioned by Yume-makura


Twirly Train 8-25 unidentified instruments and/or voices
Written for and commissioned by Circuit Training


AI-soup for solo voice with video projection
2022/Staff and video score/3 minutes
Commissioned by NAGAI Chie


Opera “Romeo will juliet” for for a soprano, a guitarist and electronic sounds
2021/Staff and audio score/70 minutes
Libretto written by GPT-2 (AI) based on “Romeo and Juliet” by William Shakespeare
Commissioned by OTA Maki and YAMADA Gaku
Extract Video

Ancient Chinese Experimental Music -From Yue Jing- No.7 “Cuneiform” + No.8 “Euclid
for 5 instrumentalists and a conductor with sensor system

2021/graphic(No.7,) staff(No.8)/10 minutes
Commissioned by Tokyo Gen’On Project


Ancient Chinese Experimental Music -From Yue Jing- No.6 “L’Arrache-cœur” for 5 instrumentalists and heartbeats sensors
2021/real-time score generation/10 minutes
The score is generated following the changes of the instrumentalists’ heartbeats.
The premiere was cancelled because of a technical problem.
Commissioned by Tokyo Gen’On Project


Scriabin Synthesizer No.2 for piano with electronic sounds
2020/staff/16 minutes
Stereo PA system with sub-woofer is required.
See Scriabin Synthesizer for details.
Commissioned by Miwa Hoyano
(Headphones or a stereo speaker system with sub-woofer is HIGHLY RECOMMENDED)


The Rise of The Saxophones for alto saxophone and video
The score is projected for the audience. Also the score has a stereo audio track. A stereo PA system is required.
Commissioned by Masanori Oishi


Scriabin Synthesizer No.1 electronic sounds
2020/audio files/3 hours
Sounds and all information are here
See also Scriabin Synthesizer


Ancient Chinese Experimental Music -From Yue Jing- No.5 for one or two Shakuhachi (Japanese bamboo flute)
2019/3D score/indeterminate
See here for details.
Commissioned by Reison Kuroda


Acusticadesca for 4 performers with hand-made instruments for Kagel’s “Acustica”, 1 cameraman/voice performer and 1 PA operator
2019/scores on turntable, text/14-20 minutes
It was composed as an additional piece for the performance of Kagel’s “Acustica”. Any kind of 8-16 instruments (include voices) are possible but one conveyor belt is indispensable. The scores are put on records and operated on a turntable.


NUu for 20 double basses
2018/staff, graphic/45 minutes
It is the third work of a long-term site-specific music project “NU” in Senju-area, Tokyo.


The Love for Forty-six Oranges for Subharchord, voice and live-electronics
2018/diagram, max patch/20 minutes

Subharchord is a historical electronic instrument built in 1960s in East Germany. This media archaeological composition was made with the earliest model of the instrument stored in Akademie der Künste, Berlin.
Commissioned by Studios für Elektroakustische Musik der Akademie der Künste
The piece is featured in the online exhibition “Historic Musical Artifacts at the Studio for Electroacoustic Music at the AdK” in Google Arts & Culture with the instrument.


17 Short Pieces for Voice and Electronics for voice performer with electronics (or an electronics operator)
2018/staff, graphic, diagram/less than 5 minutes
All pieces were composed in the afternoon of March 23, 2018, and premiered on the same day in Klangkeller, Berlin, focusing on the idea of minimum process of composition.


Love and Exhaustion No. 1&2 for percussions
Stamina of the performers determines the duration of the performance.


Song for Ne for transiting voice with helium gas, pitch-shifter and keyboard
2018/staff/3 minutes
A self-referential song commissioned by and written for Neo Hülcker.


Because The Possibility of A Masterpiece for Electric Guitar, Voice and Intermodulation for two performers with electric guitar, voice and electronics
2017/staff, max patch/18 minutes


Five short and long pieces on the chopping board of Walter Smetak for cello, percussions, guitar, violin, voice and electronics
2017/staff, video/35 minutes

Inspired by works of Walter Smetak, the instruments include his original instruments. Consists of 5 pieces, a video score is projected in the first piece. Other pieces written with staff notation.
Commissioned by Berliner Künstlerprogramm des DAAD
Sample page from the last “Bossa Nova” part.


Sub Bass Duo for Baritone and Tuba
2017/staff/17 minutes
Commissioned by Tei-on Duo


Sweet 16 Japan for Biliana Voutchkova
2016/video, text/15 minutes
The piece was commissioned by and exclusively written for violinist, Biliana Voutchkova. It is a semi-narrative piece about sweet memories of Voutchkova and Adachi in 1988.


Let’s Mikrophonie for four vocalists and one electronics operator
2016/diagram, max patch/12 minutes
A live electronic music for four vocalists and one electronics operator. This composition explores possibilities of electronic modulations among some vocal parts without any pre-recorded materials. Electronics part is intermodulations of two or more vocal parts with vocoder, ring modulation, modulation delay, overdrive, etc. One vocal signal modulates / change other voices electrically. The electronics part is equally essential in the composition as well as the vocal parts.
The performers sing and improvise newspapers of the performance day as texts in various ways. It emphasizes a live-aspect of the performance, and it makes each performance an updated new performance.
After Stockhausen’s “Mikrophonie II,” vocal ensemble pieces which focus on a realtime processing have been scarcely composed. This piece fills this strange lack, also it is intended to succeed critically the Moment form he adapted in “Mikrophonie II”.
Commissioned by Neue Vocalsolisten


Things seen by the right band and the left hand (with glasses) for two pianos with or without two video cameras and two projectors
Commissioned by Ryogoku Art Festival 2016


Gestures for electronic ensemble with a conductor
A graphic score for how to operate electronic instruments, not for sounds.


Music for Superman No.1 a&b electronic music
2015/mono audio files/less than 1 second
They are electronic music beyond the audible ability of human beings. All sounds are over 22kHz. They are 64 voice serial music with 64 of 64 note logarithmic scales. One algorithm generated two versions. The audio files are 96kHz/24bit. A high-resolution audio system is required for playback.


Where Does the Gap Between the Poor and Rich Come From? for Organ, Toy keyboards and Computer
2015/graphic, staff, text/20 minutes
For solo performer. It consist of 3 parts, each part has a different notation system. It adopts a media archaeological approach to pipe organ which is an origin of additive synthesis and keyboard interface.
Commissioned by Salamanaca Hall Electroacoustic Music Festival
The CD recording is available from here.
Sample page


Ancient Chinese Experimental Music -From Yue Jing- No.3 for unspecified three instruments with 3, 5 and 7 equal temperaments
2015/staff, text/ca. 15 minutes

See here for details.


San-on Pongaku (Three Note Pusic) for four voices (S. Ms. T. B.) and piano
2014/staff/11 minutes
A vocal ensemble piece for the opening performance for Tom Johnson’s “Four Note Opera”. This piece has the same instrumentation, but uses only three notes (B, C, G).
Sample page


It Is the Itchy Spot for piano, vibraphone, auxiliary performer(s) and video projection
2014/video/8 minutes
This piece should be called “It Is Not the Itchy Spot” before the performance. The score of this piece is written on a video as a kind of tablature. The score is projected for the audience.
Commissioned by Tokyo Gen’On Project


Ancient Chinese Experimental Music -From Yue Jing- No.1 + No.2 for five unspecified instruments
2014/staff, audio/ca. 22 minutes
Transcriptions of some fragments from assumed English translation of ancient Chinese music book, “Yue Jing” (Classic of Music.) See here for details.
Commissioned by Tokyo Gen’On Project
The CD recording is available from here.


2013-10-14T06:49:10+02:00/2013-10-14T06:50:10+02:00 for saxophone, tuba, piano, percussions and laptop computer
2014/staff, text, audio, graphic and live cording/1 minute
Ensemble with a juxtaposition of different notation systems.
Commissioned by Tokyo Gen’On Project


51 Short Pieces for Soprano, Violin and Guitar (Opera)
1987/2014 / staff, text, video, audio/15-20 minutes
An exploration of miniature form of music after Webern and Napalm Death. Most of the pieces has less than 10 seconds of duration. Some pieces were transcriptions of very early pieces that the composer wrote when he was 15 years old. Also, artistic plagiarisms are one subject of the pieces.

Several pieces are written for solo and duo, the partial performances are possible. The most of pieces adopt conventional staff notation, video scores are not projected.


Ursonate 2 electro-acoustic
2014/Surround 5.1 channel, fixed media/40 minutes
Electro-acoustic sound poem based on Kurt Schwitters’ Ursonate
Commissioned by IMRC Center, University of Maine and Pogus Productions
The recording can be purchased from here.


How to learn to talk 2U for Martin Riches’ Talking Machine, Voice, Electronics and Gestures
2013/MIDI data, diagram/10 minutes
Composition for machine and human being. The piece is dedicated to Thamsanqa Jantjie and Lydia Callis.
commissioned by Hybrid Music


Exercises for Improvisers
9 guides for improvisations, mostly in wrong or bad ways.
Pdf Score


Why you scratch me, not slap? Choreography for solo guitar player
2011/video/10 minutes
The first piece with video notation,  which is on a tradition of tab score. The score is projected.
Commissioned by YAMADA Gaku
Video by YAMADA Gaku
Video by Oren Fader


Oscillating Heads for performers
2011/diagram/6 minutes
Visual music.


Spatial Spatula, Spandrel for Piano and Voice with Objects (2011)
Commissioned by KUBOTA Midori
Video Part I, Part II
Sample page


Canon on Ac for 4 -12 performers
2011/diagram/10 minutes

Canonic music for any kind of instruments.


Odorimbisha for Tokiwazu player, voice and live-electronics
2007/diagram, max patch/15 minutes
A reconstruction of Kabuki music and story. Premiered at Markin Concert Hall, New York
Commissioned by Music From JAPAN


Brapandan for Piano
2006/staff/6 minutes
Monophonic canon.
Commissioned by OOI Hiroaki
Video by KUBOTA Midori


Hoteghon for 8 boomboxes
2003/8 CD-Rs, diagram
Physical electro-acoustic music for 8 performers with boomboxes.

Commission by The Ghettoblaster Ensemble


Be Like Water for piano
1988/staff/9-13 minutes
Melody and drone/algorithmic composition. It was originally notated using a unique notation system similar to that invented by Nikolai Obukhov.