With the evolution of teaching models and the diversification of teaching approaches, the quality of music classes in schools has been steadily on the rise, and the teachingambiance has grown increasingly vibrant. Music teachers play a pivotal role in this process. During the teaching process, they can employ a variety of strategies to stimulate students'enthusiasm for class participation, showcase the distinctive styles of musical works, thereby strengthening students'cultural identity and confidence. In primary and secondary schools nationwide, the piano serves as a prevalent classroom teaching aid, and its functionality and adaptability are beyond question. When music teachers utilize the piano, the question of how to transform an ordinary music class into an immersive scenario-based class comes to the fore. This inevitably underscores the significance of improvisational skills. When compared to activities such as playing single notes following the melody to lead students in chorus, looping background audio continuously to engage students in creative interaction, or repeatedly conducting musical work appreciation sessions, these scenarios share the common traits of monotony and tedium. As one of the indispensable skills for teachers, improvisation offers a multitude of solutions when dealing with such classes. Taking the 2024 edition of the Compulsory Textbook (Five-Four Academic System) published by Shanghai Music Publishing House and the 2020 edition of the General High School Textbook as references, music classes are categorized into three types: singing classes, music composition classes, and appreciation classes. In these three distinct types of classes, by expanding the forms of improvisation and cultivating and applying improvisational skills in a targeted," point to point" manner, musical works can be flawlessly presented to students, thus elevating the quality and sophistication of music classes to a new echelon. This paper will be based on mixed research methods (2 class periods of classroom observation, 21 questionnaire surveys, in-depth interviews with one senior teacher each from primary school and senior high school, textbook text research, and 8 lesson case analyses), primarily delve into the necessity of improvisational skills in school music education and provide specific methods and recommendations for improvisation in common classroom teaching scenarios, with the aim of enhancing the flexibility and efficacy of classroom instruction. Through this study, we found that music teachers have a demand for improvisational performance skills in frontline teaching classrooms, and that emphasis should be placed on strengthening the cultivation of improvisational performance skills for teachers both before and after they take up their positions.