Both the Chinese version and the Japanese version are sung by Cao Zhiqiang himself, but the lyrics are in different languages, one in Chinese and one in Japanese.

In other words, there is no problem with the singing part, but the problem is with the ensemble part.

As for guitar, Cao Zhiqiang can also do it himself, after all, his guitar level is already very high.

But there was nothing he could do about piano and drums. Firstly, he didn't know how to do it, and secondly, he couldn't do it alone.

So in the end, I found two middle-aged teachers from the Central Conservatory of Music.

One of them is Teacher Chen who teaches piano, and the other is Teacher Zhang who teaches drums.

Teacher Chen, who plays the piano, is a 44-year-old male teacher. It is said that he once won the first place in the piano competition of the Central Conservatory of Music and has quite good attainments in piano.

As for Teacher Zhang, who plays the drum, he is a little younger, only thirty-six years old. In Cao Zhiqiang's view, he is also a quite young male teacher.

This is also normal. After all, the drum set is a relatively unpopular percussion instrument in China at present, and it is not as long-established as the piano.

And in fact, at this time, this thing is not called a drum set in the Central Conservatory of Music, but a jazz drum, which is a type of percussion music.

It can be said that if it were not in the capital, if it was not at the Central Conservatory of Music, it would be really difficult to find a master who is proficient in jazz drums in China.

Otherwise, if you want to make music in China at this time, you still have to come to Beijing or Shanghai. In fact, only these places have the market.

Although there is a huge age difference between the three of them, they are still quite harmonious when they actually play together.

Neither Teacher Chen nor Teacher Zhang looked down on Cao Zhiqiang because he had never gone to college or had no professional experience in learning musical instruments. On the contrary, they both admired Cao Zhiqiang's music theory knowledge and music composition talent.

So unknowingly, Cao Zhiqiang, the youngest person, became the leader of the trio. Both teachers listened to Cao Zhiqiang and did not show any arrogance or mavericks.

This smoothness may be due to the fact that the two teachers are both young and not celebrities. If they were older and celebrities, it might not be so easy to cooperate.

As for why Cao Zhiqiang wants to score music in China instead of going to Japan, the main reason is that it is cheaper and more cost-effective to do it in China.

In China, Cao Zhiqiang can easily find professional teachers from the Central Conservatory of Music to score music, but in Japan, it is difficult to find such experts to help you score music. Even if you can find one, the price is absolutely sky-high.

It’s not like in China, if you give a person a hundred yuan, you can make them happy and beautiful.

If this were the case in Japan today, with a price of 100 RMB, you would never be able to find a reliable soundtrack engineer.

After all the related soundtracks for "Love in the Ancient Pavilion" were completed, Cao Zhiqiang took a copy of the master tape of "Love in the Ancient Pavilion" and took a flight to Hong Kong with Lou Xiao'e.

Yes, this time, Cao Zhiqiang did not choose to fly directly to Japan. Instead, he flew to Hong Kong first and then transferred from Hong Kong to Japan.

The reason? Of course it’s for Lou Xiao’e’s two hundred thousand US dollars!
Chapter completed!