Case study: Samambaia by Cesar Camargo
Mode of coaching: one-on-one (individual)
Lesson duration: 45 minutes
Lessons frequency: 1 lesson per week
Prerequisite: Strong Pop Piano playing background
Students with little to zero background should enroll in P.B.E.S™ Level 1 Pop Piano Improvisation course. Click here ► if you are unsure whether to enroll for Pop Piano or Jazz Piano with your current music background Please note as well that the entire course can also be fully customized upon request (without following the P.B.E.Syllabus™)
Jazz piano carries a sense of class and décor like a lounge pianist in a hotel lobby. The genre itself covers the highest levels of contemporary music, and involves sophisticated chords & rhythms. There is literally so much to learn and discover, and you can meet the music of the greats like Chick Corea, Bill Evans, and Hiromi Uehara.
Upon enrolling into the Pop Piano Improvisation course, you will receive the following, exclusive to PBE students only:
(in conjunction with P.B.E.Syllabus™)
Subject J:1 | Basic and Diatonic 7th Chords
Subject J:2 | Chord formation and Extended Chords
Subject J:3 | Understanding Tension & Voicings
Subject J:4 | The ii-V-I Progression
Subject J:5 | Circle of Fifths
Subject J:6 | Modes, Bebop scale and Chords
Subject J:7 | Reharmonization, Tritones and Chord Progressions
Subject J:8 | Ending a song with progressions
Subject J:9 | Jazz Turnarounds
Subject J:13 | Swing
Subject J:14 | Left hand Walking Bass
Subject J:15 | Ideas for Jazz Improvisation
Subject J:16 | Popular Jazz Piano Riffs
Subject J:17 | Melody Displacement
Subject J:18 | The Blues Form
Subject J:19 | Blues Left Hand Shuffle
Subject J:20 | Blues Right Hand Ideas & Ending
Subject J:21 | Scales for the Blues
Subject J:22 | Blues Expressions and Grooves
Subject J:23 | Blues-based Runs
Subject J:24 | The Pentatonic Scale
Subject J:25 | Latin and Bossa Nova
Subject J:26 | Reggae
Subject J:27 | R&B and Gospel
Subject J:28 | Ear Training for Jazz
The Jazz Piano Improvisation course exposes you to all aspects of Jazz Piano Improvisation, including voicings, scale theory, rhythmic variation, chord progressions, soloing, reharmonization and more. You will be trained to perform in solo, trio and band settings.
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).
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 in Jazz, we have a solution in place. Out of the billions of Jazz songs, we have carefully filtered out the easiest songs for learning purposes. And for the relatively difficult Jazz 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. The problem, however, arises when a student learns a song that is too difficult for him or her current playing level. It becomes very demoralising and it is really a big problem, because you will misinterpret learning Jazz as that difficult.
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.