Banish Your Practice Blindspots - PHH 223

Harp blind spots are kind of head down. We see what we think we need to see and we don't see anything else. Our vision is prescribed by that rectangle of the metaphorical windshield. We think that this is what we need to do, and so our practice habits trap us in that rectangle. We're trapped by our skills and our ideas. That's what the harp blind spot idea is all about. Welcome to the Practicing Harp Happiness Podcast. I'm Ann Sullivan, a harpist on a mission to empower every harpist to experience more harp happiness. Over my decades long harp journey, I've had lots of successes and more than a few failures. And I know firsthand what it's like to feel that playing the harp the way you want to may not be possible for you. Now, I play and teach all over the world, and I know what most harpists are never taught the secrets to gaining the skills and confidence you need to play the harp with beauty, freedom and joy. That's what the Practicing Harp Happiness Podcast is all about. Showing you simple steps to help you play the music you want the way you want. If you're an experienced harpist looking for that next level, or a harp newbie anxious to avoid the pitfalls, or a harpist who just wants more fulfillment and a little encouragement, you're in the right place, my friend. So let's get started. First, I want to let you in on something special. I think the most important thing you can do for your harp playing is to develop the habits that lead to success. Whatever that looks like for you. All of us want to learn how to play the harp beautifully, how to play with confidence and enjoy making music. And if you really want to learn those things, videos are great. But live learning is essential. You need to be able to ask questions and get answers. You can't do that with just a video, which is what makes the Miharp Mastery community so special. My Harp Mastery membership is for those who really want an online experience that lets them learn at their own pace and learn what they want and be able to learn live from expert coaches every single week. Plus, you get to connect with other harpists in the community who have the same desires for their playing. This is not only a powerful learning platform, but it's also the most generous community of harpists and anywhere on the planet. They're harpists with a positive outlook, a growth mindset, and a spirit of support for their fellow harpists on the journey with them. We're ready for you. Join us just go to harpmastery.comjoin-now. That's harpmastery.com join now. Welcome to the show. Mirror, mirror on the wall. If only my mirror could show me. All we humans love our mirrors. At some deep rooted level, we love to see ourselves. Maybe you remember the famous scene in the movie Lawrence of Arabia when Peter o', Toole playing Lawrence, first puts on the white Arab robes and headdress. He is, for the moment, all by himself in the desert. So there's no dialogue in this scene. According to the film's director, David Lean, the only instruction he gave o' Toole was to improvise what this young man Lawrence might have done in this situation. So o' Toole experiments with the sweep of his robes. He's running, he's spinning, he's feeling this gleaming white cloth swirl about him. Then he stops. And with no mirror to hand in the desert, he takes out his shiny silver dagger from his belt and tries to use it as a mirror to see how he looks. The director David Lean remembers remarking under his breath during the filming. Clever boy. Looking into a mirror, though, only gives us a limited perspective. We can only see what, what's in front of us. It takes multiple mirrors for us to be able to see our backs. And frankly, we have blind spots. Spots that are difficult or nearly impossible to see. I know. I always rely on a good friend who can tell me if my hair looks okay in the back or if the tag on my shirt is sticking out. From time to time, it's a good idea to check your harp blind spots too. Yes, we have them. And these blind spots are usually related to, to inefficiencies in our practice or skills we need to develop. And they may be hampering or slowing down our progress. The good news is that once you see the blind spot just like that tag that's sticking out, you can fix it. So in today's show, we'll review seven common blind spots. If none of them are yours, at least not right now, that's great. You'll have some additional knowledge you can use to keep them in check. But if you think your heart playing should be moving faster than it is, perhaps one or more of these blind spots will show you what you haven't seen before and you can get started removing that spot right away. Now, some of the blind spots I'll be talking about today have actual courses that are associated with them. And you can find those in our Harp Mastery App. So if you look at your Harp Mastery app and you go to that learning tab where you can see all the courses you'll see courses that are related to the blind spots we're talking about today. Now, if you want to find out which of these blind spots might be yours, we have a blind spot quiz. This quiz has been around for a while and it is very popular. It's one of those things that you can use to sort of check what's going on in your playing and see where you might need to improve. Maybe you don't have a big blind spot, maybe it's just a little one and you can use a little nudge to help you move through that. So I've also put a link to the blind spot quiz in our show notes, as well as a link to the courses that are in the app. Now, not every blind spot that I'm talking about today is covered in the quiz because I've added some since then, but I think you'll find the quiz really fun to do. It's pretty quick and you get a PDF with your results and all that kind of stuff. And of course, you can learn even more about those blind spots by then going and taking the related blind spot course right in the app. So there's a lot of way to a lot of ways that you can extend the learning that we're doing on today's show just by going to the app or by taking the quiz or both. With summer coming to a close here, we still have lots of fun things happening at Heart Mastery. Today, the day this podcast goes live, I will be drawing the lucky winner of our Summer Hub challenge from all the names of everyone who completed all the challenge steps in that challenge. So, and of course our lucky winner will be getting a little bundle of harp goodies. So I'm looking forward to doing that drawing and sending out the little, little goodies to our harp challenge winner. We have the teachers retreat coming up in just over a month. I'm so excited about that. And if you are a teacher and you haven't signed up, please go ahead and do that now so that I can get you on board with all the materials that you need. It's going to be so much fun and it's going to be really a chance to just refresh and learn quite a bit. So I've got lots of things to share with you and I certainly hope to see plenty of you there. We have a fun group already signed up, so please don't wait, don't sit on the fence and miss your chance. So please do sign up for this retreat. And if you're a My Heart Mastery member, we have some new things that I'll be talking to you about in the next few weeks, things that will add to your My Heart Mastery membership. So we'll be talking about those and coming up with some nice new benefits for you as well. Plenty to do and to get started with here in the Heart Mastery world. But right now, I think it's time we got started talking about those blind spots. Spots. Before we dig into the blind spots themselves, I want to be really clear about something. This isn't about good or bad. There's nothing inherently wrong with most of these blind spots. They've come about through some really good directions, some really positive ideas and positive energy. They're just not serving you well. So it's not about goodness or badness or rightness or wrongness. It's more about perspective. And I reminded myself of what this perspective is like when we were. I was taking a drive the other day. So a couple years ago, we got a convertible, a little, teeny convertible. And of course, this was new for me because I've never had anything that wasn't a nice big harp car, right? But in this convertible, I discovered the joy of looking up rather than through the rectangle of the windshield. I mean, when you're driving in the convertible, you have that windshield in front of you. And in that sense, it's kind of like riding in a regular old car. The world in front of you is still framed by the frame of the windshield. But when you're riding, not so much when you're driving, but when you're riding, you have the opportunity to. To pick your head up and look up. And that's when you can remember, or at least it works this way for me. You can remember that you're in a convertible because the sky is there. It's just the sky. And there's the sun and the breeze, and you can see the trees. You can see what's above you. Now, when your head's down and you're just facing forward, you could be in any old car, but with your head up, your perspective is different. And frankly, the sky's the limit. And this, it struck me, was a really good analogy for harp blind spots. Harp blind spots are kind of head down. We see what we think we need to see, and we don't see anything else. Our vision is prescribed by that rectangle of the metaphorical windshield, right? We think that this is what we need to do. And so our practice habits trap us in that rectangle. And we're trapped by our skills and Our ideas. And that's what the heart blind spot idea is all about. So today, what we're going to be doing is essentially picking up our heads. We're going to get a bigger view. We're going to look at everything that's around us. And in the case of playing the harp, harp, what's around us is the music. That's what we want to do. We want to be able to play the music. And the blind spots are that little rectangle box that we have put around our ideas about playing the harp. So these blind spots mostly revolve around practice habits or missing skills or underdeveloped skills or just misconceptions, ideas about practice or about playing that aren't particularly helpful. So as I said, there's nothing necessarily right or wrong. There's just some major league tweaking we can do to remove that box from around your heart playing and free you up to look at the sky. So let's get started with our first blind spot. One of my. I was going to say one of my favorites. Not exactly a favorite, but a very common one. And I call it the Bumpy Road. Now, if you're on the harp bumpy road, quite simply, your music doesn't flow. You have trouble trying to make the music accurate, trying to get your fingers around the notes with a certain degree of ease and facility, and trying to add the expression. Often you don't feel like you have any pieces you can actually play. You keep practicing, but even when you play something through, there are hesitations, it stops, it starts, it just. Just doesn't work. It's a bumpy road. Now, the reason that you're kind of stuck on your bumpy road is for one of the very best reasons in the world. You're trying to fix mistakes. You're trying to make sure that what you play is correct. Unfortunately, that very correctness, that is a really great idea in general, is working against you. And that's where the blind spot aspect of this is. Because being correct isn't the same as making music. Granted, we want our music to be correct. I think that's a given. We all get that. But you can't have correctness at the expense of the music. And that's what this blind spot is about. Really, what you need to do to get past this blind spot, past the bumpy road, is you need a bigger view. So what you're doing now, most likely if the bumpy road is your blind spot, you are practicing, you're working on things, and you're trying to make sure your technique is good and that you put in all the details, that you get this right and that right. And you're really working on everything that you need to do to put this together. But the piece just never crosses the finish line. And this is why practicing isn't the same as playing. Now, that's a theme that's going to come up in a couple other blind spots as well. So I might as well prepare you for that now. But in the bumpy road, you need a bigger view. This is perhaps most clearly related to the perspective I just talked about with the convertible. You need to pick your head up. You need to elevate yourself above the mistakes, to see the music and to play the music. You could sort of extend the road metaphor here a little bit and say that what you really need to do is look further down the road. Your eyes, your ears, your fingers are getting stopped at a mistake, and we need to learn to play past them. So that's the cure, Playing past your mistakes, that's going to make a difference, the music. But what makes it really hard to do is that it feels wrong to you. It feels like you're letting go, like you're being sloppy, like you're, you know, not paying enough attention. And that's what's difficult about this particular blind spot. What you need to understand is that playing past your mistakes is allowing you to create the music. Stopping and fixing a mistake is actually creating another mistake, because the music doesn't stop. It goes on, whether you've played a wrong note or not. That music isn't just the next dot on the page. The music is the whole idea that you've set in motion when you've started to play. The music is there. The music will survive a mistake. And the more you get accustomed to playing past your mistakes, the fewer mistakes you'll make. An interesting truism. So if the bumpy road is you, if your music just doesn't flow, you don't feel like you have anything. You can play confidently. You want to play with more accuracy, facility, and expression. It's just not happening. If you're on the bumpy road, I would suggest that you try looking further down that road. Play past your mistakes and let the music happen. You can go back and fix those mistakes, but you need to start adopting that bigger view. That was a really short look at a blind spot. Obviously, there are many more things that can go into that, but that's what we're doing today. We're doing that overview, and as I mentioned, at the beginning of the show, if you want to dig into these things a little bit more, check out the quiz, check out the course in the app, and you'll see some other things that you can do to help you with the bumpy road. Many of these blind spots have a lot of components to them, and I'm just kind of hitting the big ones today, so that. Because the big ones are the ones that are going to make the difference for you. Right. Okay. With that in mind, let's go on to the next blind spot, which a lot of people get stuck into. This is the one I call turtle. Just as you would expect, Turtle is about things just going too slowly. People who are stuck in the turtle blind spot feel like it takes them forever to learn a piece. Feel like their fingers don't go fast enough. They're just stuck in slow motion and they want to learn faster so that they can play more music. They want their fingers to move faster, but it just isn't happening. The turtle symptoms, the slow learning and slow playing can be related to the bumpy road sorts of issues. Just making sure that things are very correct. But often real Turtle blind spot is about missing skills you're learning slowly or playing slowly because perhaps you don't have the musicianship skills you need to learn faster. Your note reading might be too slow, or perhaps it's your technique. You might not have the hands together technique worked out yet. Your fingers might not be comfortable with the strings. And this is something that happens particularly at a beginning stage, in which case turtle is not a blind spot. It's the stage you're at. Right. If you're a beginning harpist, you need to go slowly. You can only go slowly because your fingers are just learning how to get around the strings. But we don't want you to get stuck in turtle even as your skills grow. So one of the things that turtles need to develop, and this is really beginning students in particular need to develop, is that as they grow through their harp playing, they need to remember to keep leveling up the musicianship skills they need, particularly in terms of note reading and rhythm skills and their technique as well. It's not enough to just be able to play more notes at once or get your fingers around the strings more easily. You need to also be picking up the speed. Speed at which you work. So knowing how to develop those skills so that you can level up your playing is very important. Now, as I mentioned, this does happen quite naturally at the beginning stages of study. But if you're still experiencing Turtle and you're not at the beginning stage of study, then we have some work to do. And this is where you can work on your blind spots. Make sure your technique is coming up to speed, so you're not doing the same warm up and same exercises all the time, but that you're mixing things up so your fingers get used to different patterns and that you're playing at different tempos. Play your scales and arpeggios slow and medium and fast. You don't have to do them all in one day. You can alternate days, but be sure that you're not always playing your exercises at the same speed because your pieces aren't all at the same speed. So we need to your technique throughout the range of tempos as well. Be sure you do regular sight reading. That's so helpful. There are plenty of sight reading books you could use, or you could even just pull out one of your beginning harp books and make sure that you're reading through a few of those pieces every day. Keeping your reading skills up is important. Remember that when you're learning a piece and it's a, you know, maybe it's a longer piece and you're digging into it, it's going to take you weeks to learn it. You're not always working on your reading, are you? Because you're working on the things that go into playing that particular piece. So adding some regular sight reading would be extremely helpful. So one of the easy ways to do this is to expand on what I just mentioned. Review pieces constantly. You don't have to take the easiest pieces you ever did, but take some pieces that are pretty easy for you, that you can pretty much play through even if they're not perfect. Have half a dozen or more of those and play one of them at least each day. Maybe set aside a separate day of the week where you just play through your old pieces. I mean, this is going to have a lot of benefit. Obviously it's going to help you develop a repertoire that you're comfortable with by playing those same pieces over and over, over some weeks. But you're also going to be developing your musical and musicianship skills. You're going to be playing these pieces. You're not practicing them, you're playing them. And you're going to be helping your fingers remember what to do when they see the notes. So that's all part of reading. It's going to be very, very good for your musicianship. Won't hurt your technique either, and you'll get a repertoire out of it. So if you're being plagued by just slow learning and slow playing. Then try that to battle this turtle blind spot. Okay. Blind spot number three is house of cards. The name house of cards in this case has more to do with the actual cause of the blind spot rather than the symptoms. The symptoms of the house of cards blind spot would include things like not being really sure about what you're doing in your practice, or, you know, you put away those pieces before you finish them because you're not sure how to make them finish. Sometimes practicing regularly is hard because it's not really very inspiring. The basic problem seems to be knowing what you should be working on and how to do it, how to not be overwhelmed by everything you're supposed to know, order to play the harp well, and trying to fit it all into one practice session. So the people who experience the house of cards, and this could be any of us at different stages of our harp playing, are really just in a little bit of a state of overwhelm, where there seems like there's so much to do, you don't know what you should be doing next. Nothing seems to be moving you forward. And the solution really lies in the house of cards idea. A house of cards is fragile because it has no firm foundation, right? The house of cards could be blown over any second. It's just not strong. And to answer those questions, those symptoms that house of cards people are experiencing, they put away pieces without finishing. They're not sure what they should be doing in their practice. They don't know what to do to move pieces forward. And those are real foundational issues. And they're foundational issues. Just about practice. And it's not your fault, right? Nobody tells us how to practice. At least good teachers try. I know my piano teacher, when I was a kid, she did what was appropriate for me at that very young age. Do this three times, do this five times, do this 10 times in this particular way. And if I did those things, she knew that it would move me forward. As I got older and I was doing my harp studies, it became my job to sort of figure out what I had to do in order to move myself forward. And sometimes I was good at it. Sometimes I was. In fact, many times I was not quite so good at it. But I learned, and I wanted not keep what I learned a secret from you. Here's the big thing. If you don't know what you should be doing in your practice, you need to ask. I know that seems really basic, right? But ask your teacher, ask your coach to write out A plan, say, all right, here's five days of the week. What should I be doing on each of those days? Often we don't have a real good understanding of the steps that lead to progress. While it's not a mystery, every piece is a little bit different, has some slightly different steps, and every harpist works differently. So the plan's a little bit different there. So there's no one manual you can go to that says, well, on day one of studying a piece, do this, then do this, then do this, and by day 29, it's going to be performance ready. Things don't work quite that way, but there are reliable things that you can do to help yourself move forward. Some of it is just practicing regularly and having things that you do every day, the technique work. How do you do that? And how can you keep yourself moving forward in a repertoire piece? How long do you spend, you know, how much time do you need to spend learning the notes? When do you start to speed it up? How soon should you be adding dynamics? All of these things are valid questions, and if you're not sure about them for you or for your piece, then you do need to ask. If you don't have a teacher or a coach, you can ask. Of course, we have Heart Mastery coaches that would be happy to work with you, but if you don't have a teacher or a coach that you're working with right now, use the forum in our Harp Mastery Hub. Our Harp Mastery Hub is a wonderful source of people, harpists just like you, who have ideas. We have teachers who are members of the Hub, and you can say, hey, I'm stuck in this one place. What can I do? Or maybe you don't want to post in the Hub because you don't know what you're going to do in the Hub, you'll also find my Ask and Answer Bot, and it is a clone of me. I know that sounds very high tech, but what it is is a way to access all my teachings and writings and get answers to questions that you have. So what? That is because I don't want you to be all worried about it and think the Internet's going to come and invade you. All it is is a database where I have uploaded all my blogs, all my podcasts, my books, some of the classes that I have taught. This is a tremendous library of my own writings. And when you get into the answer bot and you ask it a question, you can type it in, you can just talk it in, you can look at me in a video, and apparently I speak a lot of different langu that I don't speak personally because my bot can translate things that I don't. My clone is very smart, but you can ask it a question. You can say, I'm stuck. I'm playing this piece and this is what's happening. What might be some practice suggestions to help me move it forward. The beauty of the Internet is that it's searching. Not the entire Internet, but it's searching just what I have written. And it can give you some of those ideas. So that's another source. Do I want you to ask your teacher or your coach first? Yes, you bet. The Hub, a great source for friendly advice. Terrific. And of course, if you want something that's just, you know, you're essentially probing my database of information, ask me a question in the answer bot and it will put that together for you too. I don't want you sitting there not knowing what you should be doing in your practice. I just want you to do something. So ask and let's put that House of Cards on a firmer foundation. Yeah. Okay. Next blind spot, faulty gps. Faulty GPS is really just a case of being lost. You know when Google Maps or Waze just tells you the wrong place to go and it's like, well, I can't get there from here. So that's really what this is, faulty gps. People who are suffering from that just feel unfocused. They don't have a plan. They're not quite sure what they should be doing. They don't know what they should be doing to improve their playing. They generally feel pretty unmotivated. They don't want to feel unmotivated, but they're just sort of lost. This is obviously a little bit related to House of Cards because the symptoms are similar. But with faulty gps, it's really all about setting a goal, not just a plan. For your practice today, you need something to work on, something to give you a purpose. Because when you have a goal, then what you need to do to achieve that goal becomes clearer. So where the House of Cards is about just not knowing what to do, period. Faulty GPS is, I kind of don't know what I want to do next. Well, pick something. Set a short term goal. Don't make it a really lofty long goal. Because the thing about goals is that when you achieve them, they get easier to achieve in the future. So, and I'm using the term goal here, but really it's just an objective. And probably your goal is to finish a particular piece, right? I was like, oh, I really want to play this? Maybe you have a little bit more weight in your goal. Oh, I really want to finish this piece because I want to play it at church or I want to play it for my mother or something, right? So make that a goal and say, well, I want to learn this piece and make it a goal that you can achieve in a month or two months at the outside. If you're not used to creating plans that help you achieve a goal. And it's just sort of thinking about, okay, well, if I want to play it in two months, then I have to have the notes learned in this many weeks. And then I want this many weeks to start sorting it all out and making it sound like music and a couple extra weeks on the back end to polish it up. So now you have a plan, you know what you're going to do, and you don't have to feel lost anymore. So faulty gps, not unrelated to House of Cards, but really it's just all about having something specific to do. We all need something to do, right? So that's faulty gps. The next one, blind spot number five, I call buffet bloat. We've all been to those smorgasbords, those all you can eat buffets, right? And, you know, you start out thinking you're going to be very disciplined, and all of a sudden, you end up with this plate full of food. And even worse, you go back for another plate full of. And then you just end up feeling bloated. Well, when it comes to the buffet bloat blind spot, this is pretty much about having too much music on your music stand at once. I'm not talking about physical pieces of music, but I'm talking about too many things that you're trying to do at one time. We only have so much practice time. I mean, if you have eight hours a day of practice time, well, it's probably not good for you. But if you had that much practice time, you could have a lot of pieces that were in play because you'd have lots of time to practice them. But if you have an hour or two or even less to practice in a day, you need to fill that plate and not heap stuff onto your plate as if you had hours and hours to accomplish it, right? If you have a small chunk of time to be able to work, then make sure that you don't have more pieces than you can fit in that time. Because what happens with the people suffering buffet bloat is that they end up feeling frustrated. They can't get anything done, and they can't get anything done just because they don't have enough time to devote to any one piece to actually finish it. So here's my general rule about Buffet. Don't have more than three pieces you're working on at once. And be sure they're not all long pieces or they're not all brand new pieces so that they're sort of at different stages to work on. And if you really want to play all those other things that, oh, I really want to play this piece, well, have one day a week, set that aside where you can play anything you want. But separate that from your practice the rest of the week so you can be more focused and not suffer from Buffet bloat. Blind spot number six. I call Dull Boy. Not a very good title. But it's that all work and no play makes Jack a dull boy. And for the people suffering from this blind spot, their practice is just boring and unsatisfying. They don't get it anymore. Practice maybe used to be fun, but right now they just don't see the point. It's not getting them anywhere and they're not looking forward to it every day. Well, we need to change that, because if you're going to keep playing the harp, we need to make sure that it has some reward for you. Some, you know, psychological reward, some satisfaction, some sense of fulfillment. And this is something that is very easy to fix if you allow yourself to do this. And that is be sure that you are playing some music for fun every day. I mean, if you are really not looking forward to any kind of practice and you're just not in the mood, and perhaps you're not in the mood to practice day after day after day. Start by giving you a. Giving yourself a practice session where you don't practice anything. You just play through pieces and don't get frustrated when they don't work properly. Just let yourself kind of skate through them and do that for a second day. Do it for a third day if you have to. But by the end of the week, you should be ready to actually buckle down and work on something. And then as you go forward, remember to keep that balance in your practice. We're working on things, we're digging in and concentrating, but we're doing it in the cause of being able to play music we love. And so be sure that you are playing music that you love every day. We don't want you to just practice and just work. You need some fun, too. You got into this for the music. Yeah. Nobody starts playing the harp saying oh, well, I'm really looking forward to practicing two hours a day. No, they want to play beautiful music, so be sure that that's what you're doing. All right. And finally, blind spot number seven. This is a tricky one. I call this one the Thinker. This is something that seems to be a special blind spot for adult students. And the way I would sum it up is knowing more doesn't mean you can play more, because playing the harp is actually about playing. It's not about knowing. It's not about understanding. It's true that things like a music theory course can help you understand your music, which can help you play it better. But the music theory isn't a substitute for the playing, and it won't help you move your fingers faster. There are some things that you can only do when you play. I'm always reminded of when my son was in high school and he was. He tried out for the football team. Now he's a musician, not an athlete, but he loves football. And so he was in his high school football team. And he was frustrated because although he was on the team, the coach kept putting in other players. When my son felt, and he was right, that he knew the playbook better, he wasn't going to screw up the plays. But the problem was he just couldn't catch the ball. He knew more, but that didn't make him a better player. So the harp playing is the same thing. You can't learn your way into harp playing. You can only play your way into it. So although learning all those things is fabulous, learning about music theory, writing in the chord things, understanding the piece structure, learning about the composer, looking at all the different harp method books and exercise books that there are in the world. Although all those things are good, they don't substitute for actually getting in and playing. There's a time for all of that. But if you're having trouble actually getting pieces learned and actually learning them quickly enough, or maybe getting your fingers moving quickly enough, you might just not be doing enough playing. And that's what this blind spot is all about. Knowing more doesn't mean you can play more. Playing more will help you play even more. Remember, your practice time is for doing so. Play something first, then discover the questions, the answers that you need to find. Discover what you need to know through your playing. Don't start from the understanding first. The more you know, the more it can inform what you do. But it's not going to help you be a better player until you've reached the level where that information is absolutely useful in a practical way for you. Information on its own isn't going to help you play the harp better know that you will find out and learn what you need to know when you need to know it. So please, especially if you're early on in your harp journey, play, play, play, play, play. That's what's going to get you where you want to go. Now, I know I covered some of these blind spots quickly, but there is a lot of information here and I think there are plenty of clues for you to help you find that blind spot if you are suffering from one right now and help you figure out how to fix it. Remember, we do have some tools for you, right? We have the blind spot quiz. We have the courses related to the first four of those blind spots. So those can be helpful to you. Don't forget to use the resources. Use your teacher, your coach as a resource. The people in the hub can be very helpful. And don't forget to ask my answer bot because I like to be helpful when I can too. And that answer bot can be pretty darn helpful. Then next week on the podcast we'll be talking about a 3L framework. That's three words that begin with L3L framework for being a better student or a better teacher or both. So that's something we'll be talking about next week on the podcast. In the meantime, remember, every day is a day. You can add more harp happiness to the universe and to your world and to your spirit. And all you have to do is play. Thanks so much for listening and I'll see you next time. Thanks for tuning in to another episode of the Practicing Harp Happiness Podcast. I release a new episode every Monday morning so you can hit your practice week running. Until then, remember to practice your harp happiness every day. See you next time.