Course description:

hether you are a shower singer, karaoke club addict or a vocalist in a band, the ability to sing in a composed clear voice isn’t that hard to achieve. You just need to know what to pay attention to. Learn about correct diaphragm breathing, and pick up the skills of pitch, tonal quality and projection.

Administrative information:

Course title: Pop Vocal Course


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

Lesson duration: 45 minutes

Lessons frequency: 1 lesson per week

Prerequisite: Zero music background

Available levels: P.B.E.S™ Level 1 / 1B / 2 / 2B / 3 / 3B / 4 / 4B

Students who are unable to pitch correctly can enroll to P.B.E.S™ Level 1. Please note as well that the entire course can also be fully customized upon request (without following the P.B.E.Syllabus™)

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

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

– P.B.E.S™ Song Excerpts Black Booklet

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

– Whatsapp Newsfeed & admission to PBE Club where you can enjoy the free usage of the practice studios, discounts on musical instruments & more

P.B.E.S™ Level 1

Syllabus content for P.B.E.S™ Level 1

(in conjunction with P.B.E.Syllabus™)

Subject 1:1 | Warming up techniques

Subject 1:2 | Pitch And Intonation

Subject 1:3 | Identifying vocal range and song key signatures

Subject 1:4 | Vowels and diction

Subject 1:5 | Melodic embellishment

Subject 1:6 | Breathing techniques

Subject 1:7 | Using your diaphragm

Subject 1:9 | Voice identity

Subject 1:10 | Music theory necessities for vocalists I

Subject 1:11 | Basic Rhythmic training

Subject 1:12 | Vocal anatomy and health

Objectives for P.B.E.S™ Level 1:

You will be able to sing your choice of basic songs comfortably from fake sheets in C key, while developing good breathing techniques and rhythm training. You will also learn the basics of music theory as well as good vocal health.

Prerequisite for P.B.E.S™ Level 1:

No music / singing background required

Duration for P.B.E.S™ Level 1:

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

P.B.E.S™ Level 2

Syllabus content for P.B.E.S™ Level 2

(in conjunction with P.B.E.Syllabus™)

Subject 2:1 | Head voice and falsetto

Subject 2:2 | Intermediate vowels and diction

Subject 2:3 | Music theory necessities for vocalists II

Subject 2:4 | Basic sight singing

Subject 2:5 | Improvising with melody displacement

Subject 2:6 | Understanding chord formations

Subject 2:7 | Aural training I

Subject 2:8 | Intermediate Rhythmic training

Subject 2:9 | Key modulations

Subject 2:10 | Exploring Vocal vibratos

Subject 2:11 | (Annex A) Revision of Level 1 techniques

Objectives for P.B.E.S™ Level 2:

You will be able to sing your choice of songs comfortably and use intermediate vowels and diction. You will also be taught basic sight singing, intermediate music theory as well as more difficult rhythm trainings. You will be able to explore vocal vibratos and aural training.

Prerequisite for P.B.E.S™ Level 2:

Able to sing in pitch / No singing background required

Duration for P.B.E.S™ Level 2:

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

P.B.E.S™ Level 3

Syllabus content for P.B.E.S™ Level 3

(in conjunction with P.B.E.Syllabus™)

Subject 3:1 | Song rendition

Subject 3:2 | Intermediate music theory for vocalists

Subject 3:3 | Managing high notes

Subject 3:4 | Playing with keyboards

Subject 3:5 | Playing and singing together

Subject 3:6 | Intermediate sight singing

Subject 3:7 | Aural training II

Subject 3:8 | Advanced Rhythmic training

Subject 3:9 | Backing up with harmonization I

Subject 3:10 | Applications of vocal vibratos

Subject 3:11 | Articulation exercises

Subject 3:12 | (Annex B) Revision of Level 2 techniques

Objectives for P.B.E.S™ Level 3:

You will be able to sing your choice of songs comfortably and use more difficult rhythms and harmonization. You will also be able to handle the higher notes with the proper techniques, as well as develop the ability to sing and play the keyboard at the same time. Advanced music theory and articulation exercises will also be covered.

Prerequisite for P.B.E.S™ Level 3:

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

Duration for P.B.E.S™ Level 3:

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

P.B.E.S™ Level 4

Syllabus content for P.B.E.S™ Level 4

(in conjunction with P.B.E.Syllabus™)

Subject 4:1 | Studio recording

Subject 4:2 | Aural training III

Subject 4:3 | Advanced Music rudiments and sight singing

Subject 4:4 | Mode of vocal improvisation

Subject 4:4B | Melodic, Rhythmic and Chordal

Subject 4:5 | Chromatic scale vocal improvisation

Subject 4:6 | Improvisation in different genres

Subject 4:7 | Microphone usage

Subject 4:8 | Backing up with harmonization II

Subject 4:9 | Performing techniques

Subject 4:10 | Stage anxiety management

Subject 4:11 | Proper posture and stage expressions

Subject 4:12 | Increasing vocal range

Subject 4:13 | (Annex C) Revision of Level 3 techniques

Objectives for P.B.E.S™ Level 4:

You will be able to sing your choice of songs comfortably and with advanced level improvisation and an increased vocal range. This level covers performance-grade skills like studio recording, microphone usage, stage anxiety management and stage flair. You will also be able to demonstrate melodic, rhythmic and chordal improvisation techniques, advanced music rudiments and advanced sight singing.

Prerequisite for P.B.E.S™ Level 4:

ACompletion of Pop Vocal Improvisation P.B.E.S™ Level 3

Duration for P.B.E.S™ Level 4

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

The option to change your Pop Vocal teacher 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 characteristddics – 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 sing the Pop songs you listen to. Not 'Mary had a little Lamb'.

It cannot be further stressed how important it is, to learn and sing something that you would prefer. Aside from the daunting singing and breathing exercises, which we cannot deny are beneficial to every singer – ultimately you should be singing the songs of your choice, may it be modern English, Mando Pop, Canto Pop, etc. Even as a complete beginner, you will sing the songs you want to learn. 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. For example certain songs are perfect for case study purposes in leanring to switch between head voice and chest voice. While other songs demonstrate diction techniques.

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.