When I’m in a music show, I just want to make music seriously!

The most important thing is that with Yutenji Wakamaki's current skills, he can definitely go through the general melody in his mind by looking at the drum score.

Taku Sakagami's drum music score was not written randomly!

Although it is difficult, it does not mean that it cannot be done. The entire drum score does not contain any conflicts or places that exceed the limits of the human body. At most, all four limbs need to be used to beat different rhythms. There is no seven-limb performance.

This also meant that he was not joking just now. They really didn't need to worry about arranging music and writing lyrics. The only thing they had to worry about was whether they could keep up with the band's training progress.

I gave her some drum scores before I recorded the golden songs, which were quite complicated. But compared with this one by Taku Sakagami, they were nothing.

Taku Sakagami's drum scores contain a lot of compound rhythms and layered dynamic controls. For example, a simple tap in one place can create a certain sound. In order to make the sound layers richer, Taku Sakagami did not choose to do so. Instead, he created a stereo field by using the difference in strength of each part.

There is nothing wrong with making such changes in one or two places, but when the entire drum score is made like this for the sake of layered effects and richer sound of the music, it is completely different. While the difficulty increases, the music produced is absolutely shocking.

For four minutes, she had to maintain a tempo of 200 BPM or above without making any mistakes...

Just thinking about it made Yutenji Wakami sweat profusely.

The most important thing is, it’s just a song!

He can give such an outrageous drum score for the first song. Yutenji Wakamugi doesn't think that Sakagami Taku's subsequent drum scores will be lower than 180BPM.

And six songs, at least twenty-four minutes, right?

Just now, Taku Sakagami said that there would be no rest time in between, which means that the time between the end of one song and the next song would only give her a few seconds to announce the song title.

Are you kidding me?

In my mind, the belief that I had just had in pursuing fame seemed to be beginning to shatter.

Yutenji Wakamugi feels that rather than becoming famous, she might die playing the drums first.

Only then did she truly and intuitively understand what Sakagami Taku had just meant when he said, "You are the one who needs training the most."

With her current ability, it is difficult for her to maintain 200BPM for four minutes, let alone six songs without any mistakes.

This means that in the next month, she will need to practice during her rest time, and she must not stop updating the videos on her account. She has to take care of both things at the same time.

Yutenji Wakamu held the drum score tightly in his hand, feeling under tremendous pressure.

On the other side, the other people had almost finished looking at their own music scores.

Their expressions were actually not much better than Yutenji Wakami's.

Because the music score written by Taku Sakagami this time did not take into account the different skills of each person to make the music score suitable for them to play.

He wrote it directly according to the method that would have the best musical effect. Even if they couldn't keep up and had to make changes, the original score would not be changed. Instead, it would be simplified, and they would then work hard to train until they could keep up with the original score.

The difficulty of Yutenji Wakamu's drum score is inevitable, because the drum set is the irreplaceable rhythm center and energy engine of the band, and its complexity far exceeds that of other positions.

It's not that other positions don't need practice, but the complexity of drum scores requires the operation of a four-dimensional space-time continuum. Only a drummer can perform a drum solo against an entire symphony orchestra, which may not be very powerful. No other position in the band can do this.

What Sakagami Taku wants Yutenji Wakumai to achieve is not "enough", but the absolute dominance of the band's rhythm system.

She must be strong enough to hold this position so that others can cooperate with her.

Of course, Toyokawa Shoko's keyboard role also had to be taken away. To be honest, Sakagami Taku wanted her to play two keyboards directly, but considering that the song "Brave Shine" extremely required a grand epic feel, there were some parts that she would definitely not be able to play on two keyboards at the same time unless she had four hands, so Sakagami Taku planned to take on the remaining other keyboard position himself, and everyone had to help with the harmony of the high-pitched parts.

As for the guitar music, there is a solo in the middle, which is entirely given to Sankaku Hatsuka and Wakaba Mutsu, and the two of them are under a lot of pressure.

As for the final bass...

Perhaps in many bands, bass seems dispensable, but in the music scores designed by Taku Sakagami, bass is absolutely indispensable.

Its role is far more than simple bass support or chord accompaniment, because the music that Taku Sakagami gave to the guitar is a high-frequency C-position chord, so Yawata Kailing has to control the low-frequency clarity, not using muddy bass to add an extra layer of melody to the music, but to achieve absolute hegemony over the mid- and low-frequency.

While the guitar slices through the harmony with precision, the bass must maintain a rhythmic fuzziness. While the bass maintains the low end, the guitar must support the song's backbone with a strong rhythm.

He will definitely make every position feel good and develop them to the extreme!

This is the correct way to drive a Galaxy Battleship! Toyokawa Shoko, you don't know how to drive at all, let me show you how to drive it!!!

After a long time, everyone finished looking at the music scores in their hands.

At this moment, their hearts were filled with surprise, and they were obviously shocked by the difficulty of their own music scores.

But precisely because of this, they are looking forward to the final effect.

However, Shoko Toyokawa and others soon noticed that only Taku Sakagami himself did not have the music score.

Toyokawa Shoko asked curiously, "As for Taku, what role does this song plan to play?"

"Keyboard." He didn't explain too much, but instead asked Toyokawa Shoko, "There should be training later, right? Playing together will definitely help you understand your shortcomings better than just looking at music."

8①④⑨ ling ③Qi Bar

Toyokawa Shoko nodded. "Yes, I've already booked a recording studio. We want to practice six songs a month, so time is very tight. If everyone has no objection, we'll start formal training soon. The contract will be given to you within three days."

Several people nodded. Although Yutenji Wakamaki's face looked unhappy, he did not refuse.

Her attention was now entirely on the drum music in her hand, thinking about how she was going to play it later.

Toyokawa Shoko packed up briefly, and just as she was about to leave, she remembered something and said, "Oh, I've also written a song. But since Taku has already come up with the first song today, we can practice the second song after we have no problems with the training."

This is the song she has been writing since she wanted to form a band.

However, now that she has a song, in order to prevent the two songs from affecting each other during training, she plans to put it aside for the time being.

Sakagami Taku was a little curious and asked, "Can you show me the music score?"

Hearing this, Toyokawa Shoko didn't hesitate. She took it out and asked, "Which sheet music do you want, Taku?"

"All."

"Ah."

Nodding, Shoko Toyokawa took out all the music scores.

Sakagami Taku briefly flipped through them one by one, and the others also took a look out of curiosity.

When he got the sheet music, the first thing he saw was the name of the song: "Kill Kiss"

There was nothing wrong with the lyrics and music written by Toyokawa Shoko, but he noticed that Toyokawa Shoko assigned him the second rhythm position on the guitar.

There are no major problems overall.

But soon after reading it, Taku Sakagami had another good idea in his mind.

This song by Toyokawa Shoko has two main parts. If that's the case, why must Sanjiao Chuhua sing it alone?

Wouldn't it be more appropriate to have two lead singers sing the upper and lower sections?

The final harmony and double lead vocals playing together bring a more shocking effect than a single lead vocal. Moreover, the double lead vocals can use different styles in the upper and lower sections.

Thinking of this, Sakagami Taku said, "Can I take the music score home tonight and revise it?"

"Oh? Of course I can." After hearing what Sakagami Taku said, Toyokawa Shoko thought he was dissatisfied with his music score and asked curiously:

"Does Taku think there's something wrong?"

She thought there was nothing wrong with her arrangement.

In response to her words, Sakagami Taku said bluntly: "I can sing the main part of the second verse, and then sing with Hatsuka at the end."

Sakagami Taku's words made Toyokawa Shoko's eyes froze, and her thoughts suddenly became clear.

Yes! Why didn’t she think of it before!

If you think about it carefully, this song is originally divided into two parts, which is very suitable for being made into a dual-singer upper and lower part format.

Moreover, if Tuo sings the second paragraph, it can form a strong contrast with Chu Hua. The collision of the two styles will bring different sensations to the audience.

She nodded, with some joy on her face:

"I understand. Thank you for your hard work, Tuo."

She felt a little happy in her heart: it turned out to be the right decision to invite Tuo to join the band.

Since Sakagami Taku wants to make changes, let him decide the style of the second paragraph.

Just thinking about it makes Shoko Toyokawa very excited.

After a brief chat, several people went to the recording studio.

Shoko Toyokawa has already arranged the schedule for the next month. If some members cannot come due to certain circumstances, the others will train as usual.

After entering the recording studio, several people began to debug the equipment.

Yutenji Wakamu tried to warm up by tapping the drum score of the prelude, while Wakaba Mutsu and others were also testing the sound by looking at the music score.

Sakagami Taku gave them all a few minutes to test the instrument. Seeing that the adjustments were almost complete, he stood in front of the keyboard and said, "Today, we'll prioritize training the instrument's coordination. As for the lyrics, Chuhua, try to memorize them tonight. Of course, it would be even better if you can sing the lyrics during the practice later."

Sanjiao Chuhua nodded to show that he understood.

Seeing that everyone was ready, Sakagami Takuya said no more nonsense: "Let's get started, the drummer and guitarist will lead the rhythm."

"Ah."

Several people nodded.

As professionals, each of them has their own habits, and it is impossible for them to control the rhythm perfectly. The training of the band requires coordination so that the performance of several people can be greater than the sum of their parts.

As the training began, Yutenji Wakame looked at Sakagami Taku, wondering why he didn't prepare music for him.

But soon, as the rapid electric guitar riff sounded, Yutenji Wakamugi no longer thought about these things, but devoted himself to training. The dense drum beats directly cut in to match the guitar.

The moment the prelude appeared, everyone's face was a little surprised.

Without hearing the real effect, just looking at the music score can only give you a rough feel of the melody. It is obviously unrealistic to directly have the effect of the music appear in your mind.

At this moment, when the ensemble appears, the charm of Sakagami Taku's song is instantly revealed to the fullest.

Everyone seemed to be on a battlefield full of corpses and broken swords stuck in the ground in an instant, and ahead was an unknown battle.

They knew immediately that this song, as their first live performance, would definitely amaze the audience!

As the rhythm remained tight as the main song began, the addition of piano and bass directly sounded the clarion call of war. At this moment, Taku Sakagami's second keyboard sound suddenly joined in, and the piano sound like a symphony rang out, directly expanding the battlefield tens of thousands of times!

Yutenji Wakamugi and others were a little surprised, and suddenly realized that Sakagami Taku had not prepared any music scores for them.

The rhythm suddenly accelerated, and the interweaving of bass lines and electronic keyboards created an undercurrent atmosphere, as if the character was struggling forward in the darkness. However, the other keyboard sound of Taku Sakagami was like a burst of light in the darkness, suddenly illuminating the entire battlefield, making everyone feel amazed in an instant.

His keyboard effects are at two extremes compared to Toyokawa Shoko's. Toyokawa Shoko's keyboard seems to lay the foundation for the underlying rhythm and melody of the entire song, while Sakagami Taku's keyboard is as magnificent as a symphony.

Just like soldiers fighting, they were confused at the beginning, then awakened and understood the meaning of their lives on the battlefield.

From this point on, the song finally entered its climax.

Along with the fire of red lotus, the sound image of swords and spears intertwined appeared in the mind. All the instruments burst out at the same time in an instant, as if the soul was ignited, as if breaking through all obstacles in a desperate situation.

Everyone was unconsciously immersed in the music at this moment, and Yutenji Wakamushi was also trying his best to keep up with the rhythm of the drum score to the limit of his current physical strength, his hands were almost leaving afterimages.

After the climax, the interlude suddenly turns to piano solo and ethereal harmony, like a brief respite between battles, just for a moment, and then the drum beats re-enter, pushing the emotions to a climax.

Soon, the four minutes were over and everyone was breathing slightly, shocked by the song.

Even Toyokawa Shoko was filled with surprise at this moment.

The style of this song by Taku Sakagami is completely different from the one he previously sang for CRYCHIC.

This means that his style can change at any time according to the needs of the band.

That's terrible, Taku.

The whole song is like a miniature symphonic poem. Even the chorus is full of memorable moments and can still awaken a sense of passion for living towards death.

Although this first collaboration was not necessarily perfect, at least there were no problems.

They all gasped quietly, feeling for the first time the joy of performing to their full potential while their teammates were still able to keep up.

However, just as everyone was immersed in such a wonderful moment, Sakagami Taku's voice suddenly rang out:

"It's certainly commendable that the song was successfully performed on our first collaboration, but I also need to point out any issues that need to be addressed."

Hearing this, the girls nodded without objection and planned to listen to Sakagami Taku's teachings.

"First of all, Yutenji, your rhythm is messed up."

When Yutenji Wakamu was called, his face froze.

Sakagami Taku directly pointed out the problem: "In the chorus, you simplified the 16th note high-speed legato and compound rhythm. In order to keep up with the song, you lowered the beat, right?"

Hearing this, Yutenji Wakami remained silent and did not answer.

Maintaining a high speed throughout the entire song was difficult in itself. When the song reached its climax, she indeed found herself unable to keep up. In order to prevent others from being disrupted by her rhythm and causing the music to stop, she chose to simplify it.

She clenched the drumsticks in her hand and waited for criticism.