As the fertile musical terrain of Jeff Richman’s “Kameroon” comes to an end, the ensemble workshop band hits three sharp stings in unison, signaling its epic conclusion.

The last cymbal sustains and drum student Valerie Franco gives a joyful wide-eyed look, having navigated the tricky contours of the African-influenced composition with success.

“That’s a tough one,” she notes as the sounds of her classmates’ applause fills the room, rewarding her effort.

“It’s the African nature of music, to feel all these beats at the same time,” drum department co-chair Ralph Humphrey counsels. “You’ve got to maintain the original feel you have, and hear the subdivision as a cross-rhythm,” he says, demonstrating the piece’s superimposed rhythms.

Next, ensemble bassist Steve Billman lends his appraisal. “That was great: you were listening and letting things happen,” the Academy staff instructor says. Soon he and pro guitarist Brad Rabuchin are launching into a detailed critique — a note on structure here, a comment about emphasis there — offering useful insights on Valerie’s performance from a bandmates’ perspective.

The LA Music Academy’s Play with the Pros ensemble program is unique. Combining intensive theory with performance, a well-paced curriculum gives the school’s Drum, Guitar, Vocal and Bass students an opportunity to learn contemporary music styles then apply their knowledge in intimate jam settings surrounded by working pros. In styles ranging from pop to blues, jazz to funk, all of the Academy’s students gain valuable playing experience learning from versatile pros first-hand.

“There’s so much you can learn from the ensemble musicians,” Valerie enthuses. “Ways of playing time and listening. They teach you how to be more musical, rather than just shredding all the time,” she says, reflecting on the performance with Billman and Rabuchin, an in-demand guitarist who lists Ray Charles among his credits. “Every facet of performance is looked at. The bottom line is, at this school, they teach you how to approach music as a career,” the energetic drummer beams.

Fellow drum student Jose Becerra visited the Academy and came away impressed: “I was sold,” he recalls. “I’d never played with pros that give you the feedback you need to help you grow. To me, that’s the best education I can get,” relates the native Angeleno.

Jose found the one-ensemble-a-week classes offered by other schools lacking. “That’s just not enough to put all the pieces of the puzzle together and make it work,” he says. “Here, we study, then play with pros several times a week. We use what we learn. The next day, it’s a different instructor, so you learn different styles and approaches,” he explains. The result? “I’ve noticed a huge improvement in my playing.”

Drum department co-chair Ralph Humphrey sheds light on the Academy’s two-fold approach:

“First, we devote a lot of time to the technical side of learning the instrument. Playing techniques are important, certainly,” he stresses. “The other side of the coin is playing with a group and understanding performance issues,” he clarifies. “The ensemble is a very important part of the whole, and it addresses what we all have to face eventually: how to put what we’re learning to use. In ensemble, we teach how to play with dynamics, how to listen and get a good feel, how to put yourself in demand,” the first-call Hollywood session musician explains. “It’s a good program. The fact that students play with pros makes it cool.”

In Roman Uhl’s case, the Academy came highly recommended by a former guitar teacher. LA area alternatives seemed “huge” to him; he calls the Academy’s intimate environment “much more personal.” “The pros we play with, they make it happen,” he says admiringly. “It makes you work harder, because they play perfectly. If I know the song well, the whole tune is going to sound great.”

“Amazing” and “very inspiring” are words bass department student Key Kim uses to describe his Play with the Pros experience.

“I’m learning a lot by playing with the ensembles. Classic blues stuff: Chicago, BB King. That real blues feeling,” says Key, who was recommended to the Academy by a recent graduate. Just one month into his first quarter, Key already has his eyes on the bigger picture: “I want to learn as many things as possible here. Hopefully, I’ll get my own sound.”

Mexico native David Garcia attended the Summer Program at the Academy and was impressed by what he found. Now in his third quarter, the student doesn’t hesitate when asked what brought him back: “The personalized attention. Classes are kept small — everyone knows your name — and the ensembles are excellent so you can focus on your own instrument issues.”

About playing with pros, fellow guitar student Jaime Rubio admits occasional nervousness: “It’s kind of scary. They don’t make mistakes, so if something’s wrong, it’s you!”

At this, the friends laugh.

“It’s like a small family here,” Daniela Garcia contributes. “You get the feeling of what it’s like to play on stage professionally, even though you’re in class. It’s amazing, and you know the pros are there to help you.” Like many of her classmates, Daniela was directed to LA Music Academy. “My private teacher told me so many great things about the school. I came for a visit and was blown away,” says the Costa Rican, eyebrows raised.

Mayu Wakisaka appreciates the expert support and guidance the ensembles provide. “I used to be a chick vocalist,” the native of Japan says, a light chuckle punctuating the phrase. “I had a tough time, and band members wouldn’t talk to me. Since I’ve come here, I’ve learned how to work with musicians. Now I get to write and communicate,” the talented arranger says. Her department classmate Zhala Rifat thrives in the ensemble setting as well; for her, the fact that one in the ensemble had played with neo-soul star Lauryn Hill was an extra bonus.

Vocal students have an inspired leader in new department chair Tierney Sutton. “Find what you’re into and do it. It’s going to empower you,” the critically acclaimed jazz singer tells them.

Challenging students to scat the jazz standard “I Got Rhythm” as a Bach fugue is one thing; knowing how to lead a band another. Under Ms. Sutton’s direction, students must prepare their own arrangements and be able to discuss them with the band. “The more assertive you can be, the better they’ll play it for you,” she advises. Thus far, her firm-but-friendly approach has students and pros alike singing her praises.

Did Tariqh Akoni have a similar program when he was in school? “I wish!” he exclaims. The new head of the Guitar Department grows animated when listing the many advantages of the Academy’s approach.

“When you combine the rigorous instruction the Academy offers with performance opportunities that simulate the real-world environment, you get an ideal synthesis,” he explains. “Students here apply their skills to learn different kinds of time and time ‘feel’, develop greater clarity of their ideas, and build consistency and confidence, all by playing next to professionals on a regular basis,” enthuses the guitarist, who’s worked with leading names in pop, country and jazz. “Under the guidance of teachers and pros, it’s the best possible preparation for a career in contemporary music.”

To Tariqh, the Academy captures the true experience of performing. “To me, the playing environment is where the rubber meets the road. Fundamentally, when the student goes into the real world, that’s what the situation will be."

“I’m a big stickler for ‘feel’,” he continues. “Rhythmic nuance: it’s knowing where to put that eighth note so it feels right and working with students so that it becomes intuitive. It’s amazing how much rhythm sections appreciate that and how it translates into people wanting to play and work with you,” the busy sessioner relates.

“A lot of a guitarist’s gigs actually come from bass players and drummers recommending you, so having pros tell our students what they’re doing right or wrong is incredibly important,” he adds. “The Academy’s Play with the Pros program is unique — a new type of experience that enriches and accelerates the learning process.”

Hours after performing in Ralph Humphrey’s Contemporary Ensemble and moments after leading his own class, Steve Billman delivers a thoughtful recap of his experiences at the Academy.

“The purpose of this school is to make players; the goal of the ensembles is to give real life experience.”

Pros don’t play down to students, he says. The result: students are challenged to bring their best. “On a weekly basis, it raises their level,” says Steve. “I love to see the students when they get here: by the time they leave, if they’ve applied themselves, it’s always a huge improvement…It’s a real blessing and a pleasure to be part of this school,” he says.

It’s the kind of appreciative statement you come across often at the Academy.

Or, in the words of new student Daniela Garcia:

“I’m very lucky to be here.”