Control Your Thoughts to Express Emotion in Your Music

Piano Lessons / Uncategorized / Control Your Thoughts to Express Emotion in Your Music

Welcome to LivingPianos.com! I’m Robert Estrin. Today, we’re diving into a concept that could truly change the way you approach your music. It’s about learning to control your thoughts, so you can better express your emotions through your playing. Sounds intriguing, right? Well, let’s explore why this matters and how it can take your musical expression to the next level.

The Freedom of Thought

One of the most powerful freedoms we have is the freedom of our own thoughts. While many people try to control their emotions, I believe it’s not about suppressing or controlling your emotions—rather, it’s about expressing them fully. Emotions should be felt and expressed freely. But when it comes to our thoughts, that’s a different matter entirely. In fact, practicing itself is a form of thought control. You might be thinking, “Isn’t practicing just about building finger strength and improving technique?” Yes, physiology plays a role, but there’s a deeper, more profound aspect of practicing—the thought process behind it.

The Power of Thought in Practice

Think about those incredible young pianists you see on YouTube. They’re barely big enough to reach the pedals, with tiny hands and fingers. And yet, they play complex pieces by composers like Chopin with ease. How is this possible? Physiologically, they don’t have the advantage of strength or hand size, yet they manage to learn and perform music at an extraordinary level.

This is because practicing is driven by thought. The process of learning music is a mental one, not just a physical one. Even when the body may not be physically capable of performing certain tasks, the mind can overcome these limitations. These children figure out ways to navigate and perform pieces, which proves that practice is, first and foremost, a thought process.

Memory and Music: A Shared Process

It’s a bit like memory techniques you might have heard about, where people can recall hundreds or even thousands of digits of Pi. How do they do it? Often, they create elaborate mental images—like envisioning a house with rooms filled with items that represent different numbers. Everything connects in a logical sequence, and by following these associations, they can recall vast amounts of information.

Learning a piece of music is no different. Each note, phrase, and motif connects to the next in a logical sequence, much like a story. You can think of a musical composition as a narrative where everything leads to something else. Just like remembering a detailed story, once you start learning a piece of music, the connections between the notes make it easier to remember the whole.

A Sequential Approach to Learning

For me, learning music has always come more naturally than other subjects. I remember struggling with non-sequential subjects in school, like social studies. Dates, battles, and names felt disconnected and hard to remember. But music? Music made perfect sense. One note leads to the next, and each section of a piece connects naturally to the next. It’s almost like a puzzle, and every part fits together in a way that makes learning it feel organic. That’s the power of thought control in practicing. It’s not just about the mechanics of playing; it’s about understanding the flow of the music and connecting the dots in your mind.

Thought Control in Performance

But the role of thought control doesn’t end with practice. It plays a crucial part in performance as well. I remember the great Olympic figure skater, Sasha Cohen, commenting after a flawless performance that everything went exactly as she had imagined it. This is a prime example of visualization, which is a form of thought control.

In performance, you need to control your thoughts to avoid distractions and anxiety. A common approach is to imagine performing in front of an audience, even while you’re still practicing at home. You don’t want to block out the idea of an audience—rather, you want to include that idea in your practice. Visualizing the nerves, the excitement, and the energy of performing will help you feel prepared when you’re actually in front of an audience.

When the time comes to perform, you won’t be caught off guard. Instead, you’ll feel comfortable because you’ve already “experienced” that situation in your mind during practice. This is another example of how controlling your thoughts can ease the stress and help you perform at your best.

Meditation and Relaxation: Another Form of Thought Control

Meditation is another great example of thought control, though in a more relaxed context. Many people practice meditation to clear their minds and enter a state of relaxation. By blocking out the constant inner dialogue, they’re able to create a sense of calm and control.

In a similar way, when we’re preparing for a performance, it’s helpful to have a relaxed, focused mind. It’s about managing your thoughts to avoid stress and anxiety so you can perform with full emotional expression. Whether it’s focusing on your breath or imagining a peaceful place, managing your thoughts can help you feel centered and at ease.

The True Freedom of Thought

Ultimately, the freedom of thought is one of the most important freedoms we have. When you learn to control your thoughts, you gain the ability to truly express your emotions in your music. You’re no longer at the mercy of distractions or anxiety; instead, you can focus entirely on the music, allowing it to speak through you.

If you’re interested in learning more about how to develop this kind of thought control and take your piano playing to new heights, check out the resources in the description below. These tools could be game changers for you as you continue to grow and express yourself through your music.

Set up a free consultation about how to elevate your piano playing

3 thoughts on “Control Your Thoughts to Express Emotion in Your Music”


 
 

  1. Robert-
    I used to pretend I was sharing a recital with Artur Rubenstein. First he would play Chopin’s Barcarolle–I’d listen to him play it–and then it was my turn to take the stage for a Beethoven Sonata (or whatever else I was preparing). I found myself, when I really got into it, knowing he was about done and it would soon be my turn and could actually feel chilled a bit. It was a helpful mind game.
    Dan Lansdown

Leave a Reply

Your email address will not be published. Required fields are marked *

8 + eighteen =