Session 16: Pop & Contemporary
Overview
Section titled “Overview”- Phase: 4 — Genre & Creativity
- Duration: 75 minutes
- Prerequisites: Completed Phase 3 (Sessions 11-15). Pedal mastery, dynamics and articulation, playing by ear, raga fundamentals, Bollywood arrangements. All 24 triads in inversions, 7th chords, ii-V-I progressions. Arpeggios for 6 keys.
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Play synth-style voicings: open 5ths, sus2, sus4, and add9 chords
- Execute rhythmic comping patterns (8th-note pulse, syncopated chords)
- Use chord-based song playing — creating full arrangements from chord symbols
- Set up CT-X9000IN layer (piano + strings) and split (bass LH, piano RH)
- Perform “Clocks” by Coldplay with the iconic ostinato pattern
- Perform “Perfect” by Ed Sheeran with melody and chord accompaniment
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (Grand Piano tone to start; Layer and Split modes later)
- Sustain pedal connected
- Metronome set to 130 BPM (for “Clocks”) and 66 BPM (for “Perfect”)
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Scale and Arpeggio Warm-Up (4 minutes)
Section titled “Scale and Arpeggio Warm-Up (4 minutes)”Play these at 80 BPM, 2 octaves, HT:
- Bb major scale — flat-key fluency
- E major scale — sharp-key fluency
- C major arpeggio, 1 octave, HT — 2 times
- Am arpeggio, 1 octave, HT — 2 times
Chord Progression Review (3 minutes)
Section titled “Chord Progression Review (3 minutes)”Play I-V-vi-IV in C major (C-G-Am-F), both hands, with smooth voice leading:
This is the most common pop progression. Play 3 times at 72 BPM.
”Tujh Mein Rab Dikhta Hai” Quick Play (3 minutes)
Section titled “”Tujh Mein Rab Dikhta Hai” Quick Play (3 minutes)”Play measures 1-4, both hands, at 72 BPM. This bridges from Bollywood into pop — both use similar chord progressions but different stylistic approaches.
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”Pop Keyboard Voicings — Beyond Basic Triads
Section titled “Pop Keyboard Voicings — Beyond Basic Triads”Pop and contemporary keyboard parts use voicings that are different from classical or jazz. They are designed to sound modern, spacious, and blend with a full band.
Open 5ths (Power Chords on Piano)
Section titled “Open 5ths (Power Chords on Piano)”An open 5th is just the root and the 5th — no 3rd. This creates an ambiguous, modern sound that is neither major nor minor.
Open 5ths are used in: Coldplay, U2, Radiohead, Muse — any time you want a powerful, atmospheric sound.
Sus Chords (Suspended)
Section titled “Sus Chords (Suspended)”Sus2 — replaces the 3rd with the 2nd:
Sus4 — replaces the 3rd with the 4th:
Play C major, Csus2, Csus4 back-to-back. Hear the difference? The sus chords create tension or freshness compared to the stable major chord.
Sus chords are everywhere in pop: “Clocks” uses sus chords extensively.
Add9 Chords
Section titled “Add9 Chords”Add9 — a triad with the 9th (= 2nd, one octave higher) added on top:
This is the “John Mayer chord” — add9 voicings are the sound of contemporary singer-songwriter music.
Rhythmic Comping
Section titled “Rhythmic Comping”In pop music, the keyboard rarely plays sustained block chords (that sounds churchy). Instead, the keyboard “comps” — plays chords rhythmically to create groove.
8th-note pulse: Play the chord on every 8th note: C chord: C-E-G, C-E-G, C-E-G, C-E-G (8 hits per measure in 4/4)
Syncopated pattern: Play the chord on beats 1, the “and” of 2, and beat 4:
This syncopated pattern is the backbone of modern pop piano.
Technique (15 minutes)
Section titled “Technique (15 minutes)”Pop Voicing Drill (5 minutes)
Section titled “Pop Voicing Drill (5 minutes)”Play these voicings in sequence, RH, 4 beats each at 80 BPM:
- C5: C(1) G(5)
- Csus2: C(1) D(2) G(5)
- C major: C(1) E(3) G(5)
- Csus4: C(1) F(3) G(5)
- Cadd9: C(1) E(2) G(3) D(5)
Now play the same sequence starting on G:
- G5: G(1) D(5)
- Gsus2: G(1) A(2) D(5)
- G major: G(1) B(3) D(5)
- Gsus4: G(1) C(3) D(5)
- Gadd9: G(1) B(2) D(3) A(5)
Syncopated Comping Pattern (5 minutes)
Section titled “Syncopated Comping Pattern (5 minutes)”Set metronome to 100 BPM. Practice this syncopated chord pattern on C major:
Play: X . . X . . X .
RH plays C(1) E(3) G(5) on the hits. Rests on the dots.
Steps:
- Clap the rhythm first: clap-rest-rest-clap-rest-rest-clap-rest. 4 times.
- Play C major chord with that rhythm. 4 times.
- Now change chords every measure: C → Am → F → G, maintaining the syncopated rhythm. 4 times through.
”Clocks” Ostinato Pattern (5 minutes)
Section titled “”Clocks” Ostinato Pattern (5 minutes)”The “Clocks” piano part is an ostinato — a repeating pattern. It is one of the most recognisable piano riffs in pop music. The pattern uses 3-note groups:
The Clocks Pattern in Eb (original key): The original is in Eb major. For accessibility, we play it in C:
RH plays groups of 3 eighth notes in a repeating cycle:
The rhythm: each group is 3 eighth notes. In 4/4 time, the groups of 3 create a polyrhythmic feel against the 4-beat measure — this is what gives “Clocks” its hypnotic, driving quality.
Practice: play group 1 (G-C-E) as 3 eighth notes, repeating. Set metronome to 100 BPM (half speed to start). Play the three notes in a constant cycle for 8 beats. Feel the 3-against-4 tension.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”Piece 1: “Clocks” by Coldplay — Simplified Arrangement (12 minutes)
Section titled “Piece 1: “Clocks” by Coldplay — Simplified Arrangement (12 minutes)”“Clocks” (2002) features one of the most iconic piano riffs in pop history — a repeating ostinato pattern that drives the entire song. The original is in Eb/Bb, but we will play it in C/G for accessibility while preserving the pattern and energy.
Tempo: 130 BPM (start at 100 and build up) | Time Signature: 4/4 | Key: C major (adapted)
Right Hand — The Ostinato:
The RH plays groups of 3 eighth notes that cycle continuously. Each chord gets one full group:
Section A (verse):
Let me present this more practically. The 3-note groups cycle across bar lines:
Continuous RH pattern, 8 measures:
The secret: The fingers stay in roughly the same position throughout. Only the top note (finger 5) changes between G and A, and the bottom note (finger 2) changes between E and F. The middle note (C, finger 3) NEVER changes. This makes the pattern easier than it sounds.
Left Hand — Bass Notes:
Practice Strategy:
- RH pattern on C chord only — play G(5)-C(3)-E(2) as repeating eighth notes. Start at 80 BPM. Play for 16 beats (4 measures). The pattern should feel automatic, like a clock ticking.
- Change to Am chord — now play A(5)-C(3)-E(2). Same pattern, only finger 5 moves up. 16 beats.
- Change to Fmaj7 — A(5)-C(3)-F(2). Fingers 5 stays on A, finger 2 moves up to F. 16 beats.
- Cycle through all 3 chord shapes without stopping. 2 minutes continuous.
- Add LH bass notes — C(5) whole notes, changing at each chord. Keep the RH pattern absolutely steady.
- Target: both hands, 8 measures, at 130 BPM. This is a workout for your RH stamina.
Expression:
- The “Clocks” pattern should feel relentless and hypnotic — like a machine. Do NOT add rubato. Stay perfectly in time.
- Play mf throughout. The evenness is more important than dynamic variation.
- The magic is in the 3-against-4 polyrhythm. Once you hear it, the pattern comes alive.
Piece 2: “Perfect” by Ed Sheeran — Complete Arrangement (13 minutes)
Section titled “Piece 2: “Perfect” by Ed Sheeran — Complete Arrangement (13 minutes)”“Perfect” (2017) is a modern wedding classic — a gentle ballad in 12/8 (compound time feel) that showcases everything you know about chord voicings, arpeggiated accompaniment, and singing melody.
Tempo: 66 BPM | Time Signature: 12/8 (compound time — you learned this in Session 8) | Key: G major
Right Hand — Melody (First Verse and Chorus):
Verse — “I found a love, for me”:
(12/8: four groups of 3 eighth notes)
Chorus — “Baby, I’m dancing in the dark”:
Left Hand — Arpeggiated Accompaniment (12/8 pattern):
The LH plays the classic compound-time broken chord pattern you learned in Session 8:
Practice Strategy:
- LH arpeggio pattern alone — This is the heartbeat of “Perfect.” Play all 8 measures at 56 BPM until the pattern flows like water. The 12/8 feel should sway naturally — remember Session 8.
- RH melody alone, verse (measures 1-4) — Learn each measure individually. The rhythm is compound — groups of 3 eighth notes per beat.
- RH melody alone, chorus (measures 5-8) — Slightly more spacious and singing.
- Both hands, measures 1-2 — very slowly (50 BPM). The melody weaves over the arpeggio pattern. 4 times.
- Build 2 measures at a time until all 8 are connected.
- Full arrangement at 66 BPM with sustain pedal changing at each chord (every measure).
Expression:
- “Perfect” should sound gentle, romantic, and effortless. Play mp to mf.
- The compound time gives it a natural lilt — do not fight it. Let it sway.
- The chorus should open up slightly — a bit louder, more sustained.
- Use legato pedaling, changing at every chord change (every measure).
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Pop Ear Training
Section titled “Pop Ear Training”Exercise 1: Chord Voicing Identification (3 minutes)
Section titled “Exercise 1: Chord Voicing Identification (3 minutes)”Play these voicings and name them:
- C-G — open 5th (power chord)
- C-D-G — sus2
- C-F-G — sus4
- C-E-G-D(octave up) — add9
- C-E-G — plain major
Close your eyes. Play one at random. Can you identify the voicing? The sus2 sounds “airy,” the sus4 sounds “expectant,” the add9 sounds “lush.”
Exercise 2: “Clocks” Pattern Internalisation (4 minutes)
Section titled “Exercise 2: “Clocks” Pattern Internalisation (4 minutes)”Play the “Clocks” ostinato at 100 BPM. While playing, tap your foot on the quarter-note pulse (4 taps per measure). Notice how the 3-note groups drift against the 4-beat foot tap. This polyrhythmic tension is what makes the pattern exciting.
Now try playing the pattern while COUNTING quarter notes aloud: “1, 2, 3, 4, 1, 2, 3, 4.” The pattern and the counting will not align — and that is correct. This is your first experience with polyrhythm.
Exercise 3: Create Your Own Pop Ostinato (3 minutes)
Section titled “Exercise 3: Create Your Own Pop Ostinato (3 minutes)”Using the “Clocks” concept — repeating groups of 3 notes over a 4/4 beat — create your own ostinato:
Choose 3 notes from Am (A, C, E). Play them in a repeating cycle: A(5)-C(3)-E(2), A-C-E, A-C-E…
Now change one note for the next chord: stay on Am but try G(5)-C(3)-E(2) for a different colour.
Experiment with different 3-note combinations. You are composing a pop piano riff.
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned pop voicings: open 5ths, sus2, sus4, add9
- Practiced syncopated comping for modern keyboard playing
- Experienced polyrhythm through the “Clocks” ostinato pattern
- Performed “Clocks” by Coldplay — your first pop/rock piano piece
- Performed “Perfect” by Ed Sheeran — combining compound time with pop ballad style
- Set up CT-X9000IN layer and split modes for contemporary sounds
Self-Check Questions
Section titled “Self-Check Questions”- What is the difference between Csus2 and Csus4? Which note replaces the 3rd in each?
- What creates the hypnotic feel in “Clocks”? (Hint: 3 against 4)
- Why does “Perfect” use 12/8 time instead of 4/4? What feel does it create?
- What is an ostinato?
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- “Clocks” ostinato — 10 minutes daily. Build speed: start at 100 BPM, push toward 130. Both hands. The RH pattern must be absolutely even and steady.
- “Perfect” — 15 minutes daily. Focus on the 12/8 LH arpeggio pattern, then add melody. Target: both hands at 66 BPM with pedal.
- Pop voicing drill — 5 minutes daily. Play open 5th, sus2, sus4, add9, and major for C, G, D, and Am.
- Syncopated comping — 5 minutes daily. Practice the syncopated chord pattern on I-V-vi-IV in C.
- Scale and arpeggio maintenance — 10 minutes daily.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Uneven “Clocks” pattern: If one note in the 3-note group is louder or longer than the others, the pattern loses its hypnotic quality. Play all three notes at exactly the same volume and duration.
- Treating “Perfect” like 4/4: This is 12/8 — compound time. Each beat has 3 subdivisions, not 2. If it does not have a lilt or sway, you may be playing it as straight 4/4. Count: “1-2-3, 4-5-6, 7-8-9, 10-11-12.”
- Fighting the polyrhythm in “Clocks”: The 3-against-4 feel is intentional. Do not try to make the 3-note groups align with the beat — let them flow across the bar lines.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Layer Mode — Piano + Strings
Section titled “Layer Mode — Piano + Strings”For “Perfect” and other pop ballads, layered tones are essential:
- Press LAYER on your CT-X9000IN
- Main tone: Grand Piano (000)
- Layer tone: Strings (049 or similar)
- Adjust layer balance: strings at about 30% volume
- Play “Perfect” with this setup — the strings add warmth and sustain that transform the piece
Split Mode — Bass LH, Piano RH
Section titled “Split Mode — Bass LH, Piano RH”For “Clocks” and uptempo pop songs, split mode is powerful:
- Press SPLIT on your CT-X9000IN
- Lower section (left of split point): Bass tone (e.g., Acoustic Bass — Tone 032)
- Upper section (right of split point): Grand Piano or Electric Piano
- Set the split point to Middle C or wherever feels natural for the song
- Now your LH plays bass tones and your RH plays piano — like a two-person band
This is how professional keyboardists play in live bands — the left hand covers the bass guitar part while the right hand handles keys.
Registration Memory for Pop
Section titled “Registration Memory for Pop”Save these setups for quick recall:
- Registration for pop ballad: Layer (Piano + Strings), no rhythm, pedal on
- Registration for pop/rock: Split (Bass + Piano), rhythm accompaniment at 130 BPM