PLAY BY EAR MUSIC SCHOOL (SINGAPORE)POP PIANO / JAZZ PIANO / POP GUITAR / POP VOCAL MUSIC LESSONS FOR ADULTS , TEENS & CHILDREN  -  SALE OF MUSICAL INSTRUMENTS | TEL: 63387939 (BUGIS BRANCH)  68961237 (JURONG BRANCH) | WHATSAPP: 91798110 (24 HRS) | OPERATING DAYS: MON-SUN

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Pop Piano Improvisation Course (for adults & teens)

in conjunction with P.B.E.Syllabus™

 

Mode of coaching: one-on-one (individual)

Lesson duration: 45 minutes

Lessons frequency: 1 lesson per week

Prerequisite: Zero music background

 

Students with little to zero background can enroll to P.B.E.S™ Level 1. Students with reasonable music background can enroll directly to P.B.E.S™ Level 2.

 

Click here ► for self assessment to determine your current P.B.E.S™ Level

 

Please note as well that the entire course can also be fully customized upon request (without following the P.B.E.Syllabus™)

 

Course description:

The pop piano style covers contemporary improvisation techniques that can be used for almost any song (including English, Chinese, Korean ballads, or even Japanese anime and contemporary worship). Unlike classical piano, a pop pianist takes the basic skeleton of a song and then plays and embellishes the song as he sees fit. There are so many different ways to play any specific song. Learn the true art of improvisation in pop piano, and develop your own improvisational style.

Click here ► for course charges

 

Upon enrolling into the Pop Piano Improvisation course, you will receive the following, exclusive to PBE students only:

 

1) P.B.E.S™ Student Edition Textbook (for your current P.B.E.S™ Level)

2) P.B.E.S™ Song Excerpts Black Booklet

3) Login ID and Password for P.B.E.I.S™ Online Student Portal

4) Whatsapp Newsfeed

5) Admission to PBE Club where you can enjoy the free usage of the practice studios, discounts on musical instruments & invitations to social events including jam nights / recitals etc.

Syllabus content for Pop Piano Improvisation Level 1

(in conjunction with P.B.E.Syllabus™)

 

Subject: 1:1 | Fundamentals of music notation

Subject: 1:2 | Posture and fingering

Subject: 1:3 | Use of the Sustain Pedal

Subject: 1:4 | Play Single Note Melody

Subject: 1:5 | Triads Part (I)

Subject: 1:6 | (1 + 3 + 5) Block Chords

Subject: 1:7 | (1 – 5 – 8) Broken Chord

Subject: 1:8 | (1 – 5 – 10) Broken Chord

Subject: 1:9 | (1 – 5 – 1 – 3 - 5) Broken Chord

Subject: 1:10 | (1 – 5 – 8) broken chord

Subject: 1:11 | End a song with C(add2)

Subject: 1:12 | Ear Training (Part 1)

Objectives for P.B.E.S™ Level 1:

 

- The ability to play an elementary piece of music in 8th beat rhythm

- Applying the rudiments of music in the interpretation of fake sheets

- Developing proper fingering technique

- Building good coordination skills and a sense of rhythm

 

Prerequisite for P.B.E.S™ Level 1:

 

- Basic right hand melody playing

- Previous classical piano background (Grade 2 and below)

- OR total zero music background required

 

Duration for P.B.E.S™ Level 1:

 

- Between 2-4 months (depending on individual's progress)

Syllabus content for Pop Piano Improvisation Level 2

(in conjunction with P.B.E.Syllabus™)

 

Subject: 2:1 | Fingering Techniques

Subject: 2:2 | Effective Use of the Sustain Pedal

Subject: 2:3 | The 9th Note

Subject: 2:4 | Basics of Chord Inversions

Subject: 2:5 | Two-Hand Patterns

Subject: 2:6 | Broken Chord Technique 1 (Broken)

Subject: 2:7 | Broken Chord Technique 2 (Broken+Block)

Subject: 2:8 | Broken Chord Technique 3 (Block+Broken)

Subject: 2: 9 | Basic intervals on left hand

Subject: 2:10 | Basic block chord variations

Subject: 2:11 | ‘Close Playing’ and ‘Wide Playing’

Subject: 2:12 | Octave Displacement /

Subject: 2:13 | Slash Chords

Subject: 2:14 | Right Hand 2-Note Harmonization

Subject: 2:15 | Triads Part (II)

Subject: 2:16 | Ending with Chord Progressions (Part 1)

Subject: 2:17 | Applications of Scales

Subject: 2:18 | Level 2 Rhythm Training

Subject: 2:19 | Level 2 Ear Training

Objectives for P.B.E.S™ Level 2:

 

- The ability to interpret fake sheets with basic improvisation techniques

- Understanding and applying rhythmic changes

- Use of the right hand in playing harmony and fill-ins

- Developing better finger strength and suppleness

- Revision of Level 1

 

Prerequisite for P.B.E.S™ Level 2:

 

- Able to co-ordinate left and right hand

- Previous classical piano background (Grade 3 and above)

- Self taught playing

- Able to play with basic triads (C, F, G, etc.)

- Completion of P.B.E.S™ Pop Piano Improvisation Level 1 is not compulsory

 

Duration for P.B.E.S™ Level 2:

 

- Between 5-9 months (depending on individual's progress)

Syllabus content for Pop Piano Improvisation Level 3

(in conjunction with P.B.E.Syllabus™)

 

Subject: 3:1 | Applications of slash chords and substitutions

Subject: 3:2 | Block chords variations

Subject: 3:3 | 6th interval harmonization & octave playing

Subject: 3:4 | Voice leading

Subject: 3:5 | Dominant 7th chords

Subject: 3:6 | Apply voice leading

Subject: 3:7 | 16th beat left hand patterns

Subject: 3:8 | Up-tempo piano styles

Subject: 3:9 | Formation of maj 7th

Subject: 3:10 | sus4 and applications

Subject: 3:11 | Fills & embellishments (using 9th notes)

Subject: 3:12 | Running fills (using scale notes)

Subject: 3:13 | Rhythmic block chord fills

Subject: 3:14 | End a song using more complex chord progressions

Subject: 3:15 | Level 3 Ear Training

Subject: 3:16 | (Annex B) Revision of

techniques accomplished in Level 1 & 2

Objectives for P.B.E.S™ Level 3:

 

You will be able to improvise your own choice of songs with different variations using more advanced left hand block and broken chord patterns, along with right hand harmonizations. You will also explore basic 16th beat rhythmic patterns in ballads and up-tempo tunes.

 

Prerequisite for P.B.E.S™ Level 3:

 

- Completion of P.B.E.S™ Pop Piano Improvisation Level 2

- Able to play songs in 8 beat rhythm

- Able to play most chords with 9ths

- Able to improvise with basic variations

 

Duration for P.B.E.S™ Level 3:

 

- Between 5-9 months (depending on individual's progress)

Syllabus content for Pop Piano Improvisation Level 4

(in conjunction with P.B.E.Syllabus™)

 

Subject: 4:1 | ii-V-I progressions and substitute triads in improvisation

Subject: 4:2 | Usage of voicings

Subject: 4:3 | 3-note/4-note right hand harmonization

Subject: 4:4 | End songs with advanced chord progressions

Subject: 4:5 | Advanced 16th beat left and right hand patterns

Subject: 4:6 | Improvising with pentatonic & blues scale

Subject: 4:7 | Motifs as a source of improvisation

Subject: 4:8 | Creating an introduction with key modulation

Subject: 4:9 | Compound time (12/8)

Subject: 4:10 | Basic jazz theory applicable in Pop

Subject: 4:11 | Level 4 Rhythm Training and Ear Training

Subject: 4:12 | Left hand approach notes

Subject: 4:13 | Advanced forms of Pop reharmonization

Subject: 4:14 | Swing, Bossa Nova, Reggae,Rock & Roll style and other rhythms

Subject: 4:15 | (Annex C) Revision of techniques accomplished in Level 1 & 2 & 3

Objectives for P.B.E.S™ Level 4:

 

You will learn a wider range of improvisation techniques in 16th beat rhythm, including basic chord substitutions and more complex fills that you can apply to your choice of songs. You will also be able to stylize your improvisation with song arranging techniques.

 

Prerequisite for P.B.E.S™ Level 4:

 

- Completion of P.B.E.S™ Pop Piano Improvisation Level 3

- Able to play songs with basic 16 beat rhythm variations

- Able to play most chords with 7ths & 9ths

- Able to apply voice leading in improvisation

 

Duration for P.B.E.S™ Level 4:

 

- Between 5-9 months (depending on individual's progress)

The option to change your instructor as and when necessary and should you need to do so:

 

We have lived up to our promise that we will never be offended should you make this decision.  Never.  As our primary business is providing services to the public, individuals that accept these services do have different chemistry.

 

It can be due to any reason that may not necessarily be negative, for example the differences in characteristics - whether animated or soft spoken, musical influences, language barriers or simply the matter of not being able to 'click' with another character.  We know how tough it is for students to voice out their inner concerns, which is why sometimes we do repeatedly ask them and in the most causal manner to provide a sense of ease.  Many may view this as an insult to the instructors or even to the school, so as team instructors, we might be more concerned than you are, if you do not allow us to substitute your instructor, should another work much better for you.  There are no politics at our school, as our deep-rooted culture and belief act as reminders that it is impossible for anyone to be pleased in this world, through positive thinking.  In retrospect, this really is one of the perks of joining a music school, because you are not bound by just one instructor (should things not work out).

 

 

We want you to play the songs you listen to.  Not  'Mary had a little Lamb'.

 

It cannot be further stressed how important it is, to learn and play something that you would prefer.  Aside from the daunting drilling and Hanon finger exercises, which we cannot deny are beneficial to every pianist - ultimately you should be playing the songs of your choice.

 

This is your life, your music and your choice.  Even as a complete beginner, we have a solution in place.  Out of the billions of pop songs, we have carefully filtered out the easiest songs for learning purposes.  And for the more modern popular songs, we have used excerpts from sections which are easy for beginners.  While you, as a student, have the opportunity to learn the songs of your choice, it is also our responsibility to ensure that the song is suitable for learning.

 

 

As a team of instructors together, we can testify that no attitude issues are present.

 

It is a peculiar way to deliver a message to say that we are a friendly team of such, but the truth is that musicians on a more general scope, are infamously known for their eccentricity, sometimes even on an accidental and negative manner (though this is some-what controversial).

 

We are musicians and we know how our brains are wired and backed by numerous scientific studies and it is proven that we think differently.  However so, we want to highlight that this is no excuse for musicians to behave with such attitude.  We cannot deny still that on a certain level, we are displaying a certain preconception towards such 'musicians' as well.  We can confidently say that over the past 15 years, we have grown, not just as a business but in the way that we think.  There is always the saying that it is a different 'ball-game' when it comes to teaching and, in our opinion, that 'ball-game' is not just merely a casual term to use and so we have taken it to another level.  We have trained within ourselves, the important of developing good people and team work skills.  To an extent, we have studied it and implemented it at PBE and we believe that it is the key to success, in almost whatever you choose to do in life and not just in teaching music - for example, in order to understand our students, their goals and their life-styles. To a certain extent, we must also know when it does or does not matter, if the student practices at all.  Our students are our direct customers and as service providers, we are accustomed to adapting our mode of delivery to suit our customer's needs.