Bob Long - "America's Number 1 Piano Personality!"

Here's a topic that might interest all piano players. Try experimenting with how high or low you sit at the piano. This has always fascinated me, because years ago when I was playing and singing rock in the clubs, I used to sit up quite high in relation to the keyboard. Now that I am playing more classical and jazz, I find it preferable to sit low. I frequently ask others piano players how high they sit, and the vast majority, especially the singing pianists, sit high. I think that it gives them a feeling of being "on top of things." It's easier to breathe well, project your voice, facial expressions, demeanor and body language when you sit up high, especially if you're surrounded by band members who are standing. But if you are playing solo, of course that is not a consideration. For non-singing pianists, it might be worth a try sitting a little bit lower.

When I sit low I seem to have more leverage with the arms. The keyboard is closer to my face and feels more like a "work table" to me. It seems easier to focus my ideas on the keyboard with my mind, and focus visually on my hands. I don't know about you, but one of the many, many things I love about playing the piano is the biomechanics of it. I love the way my fingers are like little hammers, and the way my arms are like levers, I love feeling my shoulders work as I play. So all these mechanical things are easier to focus on when I sit low, looking more directly at my "work table," and not looking down at it from afar. Having said that, however, I must admit that many fine pianists sit rather high, not the least of which is Rubinstein. But look how low Glen Gould sat!

There are probably many factors that come into play which determines how one sits at the piano. But I suggest that it might be fun to try different heights. You might discover that the execution of your ideas is easier at a different height of bench. It might change your perspective, broaden your horizons. Best of luck to you in all of your musical endeavors.

If there is anything I can do to help you reach you pianistic goals, please write to me via this website. If you are a pianist, and I can help you, I will always make time for you.

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Pianists That I Admire

I have had many piano idols during my life, and I'd like to tell you who they are, and what I most admire about them and why.

Peter Nero - Here's a man whose love of classical music, as well as swinging jazz, comes through in his lively, sophisticated arrangements. He is exhilarating to listen to. He is enthusiastic!

Ralph Sutton - If you like stride piano and early jazz, I strongly exhort you to study this great artist. His every nuance is captivating and delightful! Here is syncopation at it's best!

Oscar Peterson - Of course, he is the last word in jazz piano on this planet. To those who are in the know, this man is an immortal legend. He is an incomparable technician. His harmonic ideas are wonderful, and he throws in just enough blues to give it spice. He never goes too far "outside" with his improvisation, and yet he remains unpredictable and interesting. Some of my colleagues say that Peterson sometimes copies from himself, but I would like to point out that so did Michelangelo!

Liberace - Speaking only musically now, he delivered refined classical music into millions of average American homes. His recorded selections reflect exquisite taste as well as a light-hearted joie de vivre! What a character! There was so much else going on that people tend to overlook the fact that he was a fine pianist. He played all styles of popular music, imbuing each with his signature embellishments. He loved what he did, and that made us love him, and his music.

Jerry Lee Lewis - The average person tends to think of the Killer as a singer. I like to savor his piano playing! At the root of his style is a love of driving boogie-woogie. Decades of glissandos, and rockin' country-chording and vamping, have developed in him a certain "feel" that I find delightful and satisfying.

Arthur Rubinstein - Every note he played was golden! Flawless technique, coupled with gentle, sparse pedaling, gave clarity and immense beauty to everything that he played and interpreted.

Dinu Lipatti - A perfectly balanced and measured approach, yet highly emotional. He is one of the greatest classical pianists of the 20th Century.

Ray Charles - Once I played a piano duet with Ray Charles. It was one of the high points of my life. He could play a standard blues lick and give it a certain "kick" that made it his own. Like some of artists above, his singing and other factors overshadow his piano playing in the mind of the public. But in my mind, for blues and gospel, Ray was tops!

I have other favorite pianists, but these are my main ones. We would all do well to study them and their individual approaches to the piano as an instrument.

When I consider these, my top players, a couple of things come to mind:

Be yourself. Be inspired by your idols, but don't copy them note for note. Emulate their feel and love of their instrument. But make sure you develop your own feel, based on your own love of your instrument. You have the right to play the piano any way you want. Play it YOUR way!
Don't practice stuff you already know. Sure, it's good to run through your repertoire for the purpose of keeping current pieces "alive and kicking," but don't leave it there. All of our favorite piano idols became great by trying new stuff. They were constantly striving, learning, growing. So move forward! Set piano goals, even little ones. You'll be glad you did. Your playing will be fresh and exciting and you'll be enthusiastic about your piano playing.

If you want to consult me on this, or any piano-related topic, please contact me here.

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Like many of you, I love all kinds of music, so the things that I have to say here will be of interest to boogie-woogie players as well as classical and popular pianists of every description. Even though some of us play by ear, and some of us rely on the printed note, we all have a lot in common. We find it exhilarating to play the music that we love. We all have technical challenges to overcome, and we all enjoy sharing our music with others.

People often ask me what they can do to help their child or grandchild stay motivated and enthusiastic about their piano lessons. My answer is always the same. Expose them to as many different types of piano music as possible. Take them to hear live pianists in action! And play a variety of piano music at home and in the car. Whether you buy my CDs, or someone else's, be sure to provide them a wide range of piano styles and colors. Something that they hear will light their fire and inspire them! Make sure that they become aware of what the piano is capable of. If you don't, who will?

Here's some advice for teachers. Once, I was giving a piano lesson to a famous Hollywood celebrity who now has his own show in Branson, MO. He told me that he was nervous and tense because I kept staring at his hands as he played. So we tried an experiment. I got up and started looking out the window. He relaxed and his playing improved noticeably. As teachers, we feel that we need to watch the student's technique very closely so that we can pinpoint flaws and help make adjustments as needed. But that is not necessary all of the time. Try putting your students at ease by looking out the window, reading something, or just focusing on something else for a while.

Now here's some advice for students. If you want to play fast, practice slow. Real slow. Make each note count. I don't care if you're mastering a Liszt etude or jammin' out some Fats Waller. Play as if every single note was vitally important. Polish each and every note as if it were a diamond. Playing fast is the easiest thing in the world. Anybody can play fast. But to play fast and squeaky clean, you must practice slowly.

If there is anything that I can do to help you achieve your pianistic goals, contact me here.