Being Prepared: When Practice Is Not Enough - PHH 121

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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 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. Welcome to the show. Benjamin Franklin, who had a noteworthy thought about almost everything, authored this famous truth by failing to prepare, you are preparing to fail.

Preparation is everything. We harpists understand that our practice is is our preparation. We won't be able to play well if we don't practice. We get it. But if you've been playing the harp for a while now, you have probably experienced the painful flip side. I'm talking about the realization that even with all the hours of practice you put into a particular piece, you still aren't guaranteed to be able to play it as well as you expect under pressure. After an experience like that, most of us decide to double down on our practice, thinking we weren't prepared enough. We hope that we've hit on the magic number, the magic number of hours or repetitions or practice sessions that will be the perfect preparation. Maybe it works, maybe it doesn't.

So if practice is preparation, why doesn't practice make us prepared or even feel prepared? And why does it sometimes seem that our practice lets us down in a performance or a lesson? What does it really mean to be prepared as a musician? Well, I believe it can't be measured in practice time or number of repetitions, or test recordings or preview performances, or even in years of experience. You see, what I have learned is that practice is not the same as preparation. Certainly it's the biggest part of it. But without the addition of specific strategies to connect that practice to our playing, practice alone won't ever let us feel truly prepared. Being or feeling prepared relies on three key attitudes, ones that many harpists don't consider and others just choose to ignore. However, you can't feel prepared without having thought about these three ideas and put them into daily action. Each is important. One will help you feel balanced so you can express your music more deeply. One will help you feel confident that you could do your best, and the third will allow you to conquer your fears about playing. Taken singly, they are powerful. Put all three together and you have a game changer. That's what we're going to talk about in just a moment. I will not only share those three attitudes with you, but I want to be sure that you know how to create them, how to turn your thoughts to them, but also how to implement them. What I want for you is to be able to do only as much practice as you actually need, rather than doing more and more practice in the hope that more practice alone will fix this problem. Oh yes, Benjamin Franklin had a quote for that too. Never confuse motion with action. I know you get the point.

But before we start digging deeply into that topic, I want to say a very special thank you to those of you who joined our My Heart Mastery community this past week. We had sort of a flash opening of the doors to My Heart Mastery membership and quite a number of you took action and joined us in the community and we are so thrilled to have you with us. Thank you so much for joining us and we hope to make your time with us super special. So thank you for that. I also want to let everyone know that early bird registration for our February getaway retreat in Florida is now open. Our getaway retreat is from February 16th to 20th in the house that we rent in Kissimmee, Florida. It's a beautiful house and we get to all be in the same house. It's a nice small group so we can all stay there. Every bedroom has an ensuite bathroom so you can be totally comfortable. And and we're doing something different with the retreat registration this year. So rather than just opening registration, we are making an early bird registration for those of you who really like to get in there and plan ahead. So if you register between now and the end of September, as in September 30th, if you register before October 1st, that's another way to put it. You will be eligible for a $300 discount on the retreat FE. So that's kind of a 15% discount. So that's not, you know, not negligible. So that makes it extra easy for those of you who really want to get in the door to do that. So that's happening in February. I have put the link to our getaway retreat registration page in the show Notes for you. You can get it there. You'll be able to see it also under upcoming on the heartmastery.com website. Just go to the navigation bar, look for upcoming events and you'll see the getaway retreat there. So I certainly hope you join us. It's, it's always a wonderful event and you get to work with me and one of my certified coaches and it's just a fun, fun time to concentrate on your harp playing, get some one on one instruction from, from both of us there and to also get a chance to just make some great harp friends from all over. So I urge you to go ahead and do that. We will look forward to seeing.

As I was putting together my notes for this podcast on preparation and on being prepared, I realized that by an interesting coincidence, this podcast was going to air during September, which is here in the United States, National Preparedness Month now. So it's the month where we are being urged to make sure that we are ready for whatever disasters, natural or otherwise, might come our way. So what I thought was really interesting about this was that the preparation is for disasters. And when we think about preparing our playing, I wonder how often we're thinking about preparing it to be wonderful and beautiful or preparing in a way that will help prevent disasters. And certainly we don't want to have playing disasters happen to us. Nobody wants an epic fail. However, I think really mostly our preparation is a positive one. We want to think in terms of preparing music, preparing to give people pleasure as they listen to the music, to share what we love about music with other people. So our preparation doesn't have to be from that standpoint of, you know, making sure that we're ready for whatever comes. Although the things we're talking about today will help with that for sure. But I really want to look at this from a positive angle, from the idea that we want to be prepared or to feel prepared so that when we start to play something, we can feel confident, we can feel joyful, we can feel all those wonderful things that music is and the harp make us feel. So that's what we want, right? We don't want to feel fearful or concerned or nervous. We can't help adrenaline. There are lots of things that we just can't help. But we can feel better about our playing than perhaps we do. So when I'm talking about being prepared or feeling prepared, please understand I'm not talking about preparing to.

Avoid or survive a Musical disaster, although that's, you know, that's going to crop up. But what I'm really talking about is preparing you to feel good about your playing and to feel reasonably confident that what you're going to play is going to go reasonably well. Well enough that you can feel proud about it, which is really, I think, what we're looking for more than just about anything. So we aren't going to frame our discussion in terms of disaster readiness. We're just going to frame our discussion in terms of readiness and the ways that you can feel ready. When we're talking about preparing for a hurricane, there is a whole checklist that we can go through. That checklist for music is not as clear, but that's why I'm giving you action steps for all these things so that you do have boxes that you can check that will let you know that you've done what you can to be ready to be prepared. And that's what's going to allow you to play with confidence. So having made that little distinction, I'm ready to dig in, and I hope you are, too. Let's deal with the easy part first. What might you need to be prepared for? Well, you might need to be prepared for a performance, right? And before you say, oh, well, I'm not ever going to play for anyone, think about what a performance might mean. It could mean anything from certainly a formal recital to performing in church, to performing at a local senior center or nursing home or at a library, or playing for shut ins or doing a Facebook video post, sending a video video to friends. You might want to prepare for a rehearsal that you have with a harp group, right? A harp circle, or with some other musical friends. You might just want to feel prepared for a lesson. So there are lots of things besides formal performances that you might want to feel prepared for. So I don't want you to tune out thinking, oh, well, I'm not a concert performer, so this doesn't apply to me. Even if none of those playing situations that I just described sound like they're going to apply to you, you're still going to get a lot out of these three attitudes, these three mindsets. And we're going to talk about the first one right now. I believe that the very first thing that you need to start thinking about to feel prepared is that you need to train yourself to focus on the experience, not on the playing.

I thought the playing was the experience. You say, all right, I want to change this. I want to reframe the whole idea playing for someone, whether It's a teacher or a friend or a shut in or an audience. Playing for anyone doesn't have to be about you. It's not about how good you are. It's not about how many wrong notes you play. It's not about you unless you make it that way. If you put that judgment call on you for this, say, oh, well, I don't know if I'm going to be good enough. You're setting yourself up for the wrong kind of preparation where you're, you're sabotaging your readiness. Focus on the experience instead. Describe the outcome you want from the experience of playing for this other person or playing for others. Describe that outcome that you want in terms other than how you play. Now, this is going to require you to sort of surrender your idea of playing perfectly for someone else. Perfection doesn't usually happen, so we can give that one up anyway. But I want you to describe this for yourself. Not, you know, in the numbers of wrong notes or how many times you hesitated or other flaws that there might be in your playing. It's not about how nervous you are or how shaky your hands are. I want you to try to learn to make your thoughts here about the experience beyond the music, the experience. So if it's a lesson that you're playing in, the experience should be about learning and growing. You are not there to play perfectly for your teacher. Your teacher isn't judging your playing. I know it may seem that way because we'll dive in and we'll help you fix the wrong notes and we'll help you fix the stuff that we know you need help fixing.

But you're there to get help. You're there to learn from your teacher. You're there to have your teacher help you grow in all kinds of ways beyond just fixing the right notes.

On the other hand, if it's a performance that you're that, that is your experience, can we make the experience about sharing with the listeners? You have a piece that you love. Isn't it a wonderful thing to share it with someone else? You can make it about communicating the composer's music. Remember, the composer has a rough time because their music doesn't live. It doesn't exist unless you play it. Until you give voice to those notes, they're just dots on a page. The composer is relying on you to share it with an audience. They're not asking perfection of you either.

So if you focus on the experience, the idea that you're going to learn, you're going to grow, you're going to Share all those things that are so different from. I need to play all the right notes. I need to get this chord. I need to make sure I get this pedal. I hope I don't forget. I want to. You know, it's not about you or it doesn't have to be. It isn't unless you make it.

Reframing your idea of what you're doing right at the outset changes the entire way you prepare.

Think about how this could change your practice so that you're not focused on that one measure that just won't get right. Yeah, we want to get it as you know, we want to get it right, but we're not invested in that one measure as the entire bar line for our success.

That one measure going correctly isn't the only thing that says, oh, this was a good performance. Oh, that one stunk. It's not about that one measure.

So this will change the way you practice. It will change your word of the day preparation. So here are three ways that you can do that. That you can practice reframing the experience for yourself so that you can focus on the experience rather than just on your playing. Here's the first thing you can do. This is sort of an away from the harp kind of a thing. I want you to take a sticky note, and on that sticky note write down three benefits that this experience will have for you or for someone else. Let's say you're preparing for a lesson.

Take that sticky note and say, I am playing this lesson because my teacher is going to help me learn this piece. I want. When I go to my lesson, I want.

To learn X, Y, or Z from my teacher.

I'm going to this lesson and my teacher is going to help me do this, this, or this. Maybe one of the benefits you want from your lesson is just to enjoy.

Hearing your teacher's wisdom coming at you. You know, maybe it's just spending time learning from this person.

They don't have to be specific benefits. They can be more general, like that, or a benefit for someone you're going to play for. Maybe you're going to play at the nursing home. Well, you're going to be bringing in just some breath of. Of outside air to these people. You're going to be bringing them something special that they wouldn't have if you weren't there.

So think about those benefits. Maybe put one. Put each of those three benefits on a separate sticky note. Put one right on your music. Now, I like to put it right over the first measure of my music because that means I have to see it because I have to move that sticky note before I start to play. But put it right there to remind you why you are there, why you're doing that. Practice. Don't. Save this, by the way, for the day of your lesson. Do this every day so that you're thinking about that while you're practicing. This has to become a habit.

Here's another thing. This is another slightly oddball sort of thing, because I'll bet it's something you haven't thought about.

I want you to practice thinking about the things you like or love about your music while you're practicing, so that while you're practicing, you don't, you know, we don't want your mind to drift far away, and we certainly don't want it to drift toward, you know, things like, oh, yeah, I have to pick this up at the store. But if you let your mind drift the way it will to things that you love about the music that you're playing. Wow, isn't that a beautiful chord? Wow, listen to that melody. Oh, I love this piece. Think about that while you're playing and let yourself smile. Let yourself really enjoy those thoughts while you're playing.

Now, this is maybe a little strange and a little unusual for you, but it's going to be much easier to do in the privacy of your own practice room.

Than it is at first in front of someone else. So that if you practice it daily and you let your mind go to what's wonderful about the music, that's one of the places you can let your mind wander when you are playing for somebody else. It will have become habit, we hope, so that you can think about what's wonderful about the music that you're playing. It'll keep your focus in the right place.

Okay, here's the third thing.

Take a few moments and consider the most personally impactful positive result this experience could have for you. Now, all three of those words are. Are important for me. So it's like pip, Pip, personally impactful, positive result. What does it mean for you if you play this piece? Really? You know, if you play this piece in your lesson, what could be the most important? Right? Personally impactful, positive result. You play it in your lesson and your teacher not only compliments you, but helps you take the piece to the next level. Or your teacher thinks it goes so well that they give you the next piece, which is one you've been dying to play. Think about what could really happen.

From this particular experience.

We often think about the. Going back to our earlier discussion Here we often think about the disasters that await us, but what about the happy things that might await us? Right Then if you want thinking about those positive results, you could make that part of an even if statement. Even if this terrible thing happens, I will still have this. Like, even if I screw up royally, I will still have given this piece its first public outing that I've done. I still will have played this for my family. I still will have brought a gift of music to these people. I still will have shown my teacher where I need help. I still will have been brave. I still will have conquered my fear.

What is important to you about playing this particular experience? And then put it in that even if statement.

I need to play for my friends because I need practice playing. So, you know, I need to be brave. Well, even if I screw up royally, I will still have been brave. There you go. You've got positive things to look forward to. We are reframing the experience in ways that have nothing to do with how many wrong notes you play.

That's thing one. Now, I hope that all by itself, thing one is really important for you, and you're thinking, ooh, wow, I can really. I can really do something with this. This is a game changer. Okay? Wait till you hear thing 2.

Being prepared also means being resilient.

Once again, this is a little bit of a turning of the prism. We're looking at something that's familiar, something we look at all the time in a slightly different way. We often talk about resisting distraction and staying focused. We talk about.

All those things that are there to help us prevent problems. But what if we think of this in a different way and think of being prepared as being resilient?

Just the word resilient sounds positive, right? I remember when I was taking karate lessons, we were always told we should be like the willow tree, not like the oak tree, so that we could bend instead of, you know, stand so strong and straight that we would break. We wanted to be flexible. Resilient. Such a good word. So in terms of our playing, we know that when we're playing for somebody, things are going to be different than they are when we're practicing. Things always go better at home. But being resilient means being prepared to react, to pivot, to go with the flow, to deal with what happens and. And make the best of it.

So the kind of practice that we often do is geared toward producing one result over and over. We're going to play this a hundred times, and we're going to get it right. Every time. That doesn't create resiliency. Practice geared toward just doing that one thing over and over creates something that is very breakable. It may look strong.

But one little thing could knock the whole thing over, right? That Jenga Tower. If you ever played Jenga, that game with blocks, that Jenga tower can be very tall. But if you take out the wrong block, it's going to tumble right away.

So we want control of what's going on without rigidity. We're looking for flexibility in our playing. We want to allow the difference, the change, the. The serendipity of the moment to be a good thing. We need to be able to allow for what's going to be different.

And know that that's okay. We often use words like bulletproof or crash proof when we're talking about playing, but really that's not what we want. We truly want or need to be more like a rubber band so that we stretch rather than resist, so that we can flex rather than just stay stiff, so that we can allow the things that are going to happen to happen, rather than try so hard using all our energy to prevent them from happening.

Now, I know that I feel more relaxed already talking about resiliency, and I'm hoping that you feel relaxed thinking about it. Just think what that would feel like where you. You don't have to be strong. You don't have to be, you know, bulletproof or crash proof. You just get to go with the flow. Huh. Sounds great. How do you practice it? Well, these are techniques that we've talked about before on the podcast. I talk about them to the My Heart Mastery members and in the coaching that I do, but here we go. They're still important and they're impactful. And when it comes to creating resilience in your practice, be sure you can start from anywhere in your piece. We know distraction is going to happen. We know we're going to lose focus and need to recenter. So be sure that you can start from anywhere. If you're playing from music, be sure that you can look at the music and know where you are, even if you have looked away from the music for a while.

Know what the middle sounds like. Know what this line sounds like. And that line. Be sure you can start from anywhere, not just at the beginning or when something goes wrong. If something goes wrong, you may have to go back to the beginning and start over. We're looking for resiliency. Start from anywhere.

And then you can do sort of the negative approach to help build in and allow you to practice being resilient. Build in resistance to distraction. Well, I don't know, but build in some distractions to help you learn to be resilient. Create distractions in your practice room. Put on the radio, put on the television. Pay attention to it. Don't just tune it out.

You know how when those commercials come on, they're always twice as loud as the program? All right, well, now you have something to react to.

Move your harp into a busy room in the house where somebody's fixing dinner, assuming that you don't have to fix the dinner or doing dishes, something, you know, make yourself practice surviving the distraction. Being resilient, going with the flow. Oops, you lost your place in the music. Just find a spot and start play until you find your. Find a spot. Don't stop playing. Just find it. Learn to be resilient.

You can also change up how you practice your piece. You can try practicing it at a very different tempo or a very different dynamic, a very different feel. I mean, maybe your piece is a sprightly jig. Well, try playing it as a slow waltz. See what happens. This is going to build in your own control and your own flexibility in the way you can play this piece so that you're not always playing it at the same tempo. When I prepare a piece for performance, I'm practicing it at a very wide range of different speeds. I'm playing it at the tempo that I want. I'm playing it a little bit faster. I'm playing it quite a bit slower. You don't always have to do the same thing the same way to be prepared. And in fact, when it comes to developing resiliency, the more different ways you do it, the more resilience you will be practicing into it.

Okay, that's being resilient. That's my favorite. I love that one.

But here's the scary one. It's the third one. Being prepared means being prepared to fail. I know that sounds really negative, and I've been talking positivity this whole time, but I want you to think about it. Music is a living art. It happens fresh each time we do it. It's different every time. And while that's what makes it challenging, we really wouldn't want it any other way, because that's where the magic can happen, in that one wonderful note that existed for that fraction of a moment and won't ever exist again. That beautiful performance is wonderful. And of course, on the other side, that mistake that we made has also vanished into the ether. It doesn't live beyond Itself either. Right. Nice. Okay, so. But music is that living art, it's going to be different. It's. Things won't go in that performance exactly the way you expected. Now, we can call being prepared to fail, preparing for the unexpected, but that sounds like there's actually something you might be able to do to prevent it. Like that disaster readiness checklist. You can't, because we don't exactly know what's likely to happen. We can't just buy jugs of water and know that, you know, if we need water, we've got it. We practice and we get all this, you know, we put all those pieces in place, the technique, the dynamics, all those things, the fingering, the notes, the whatevers. We've got that. But music is more than that. So we can't always know what might happen. So by being prepared to fail, what I mean is knowing that and accepting that every performance is unique, it's a unique experiment that may or may not work quite the way we expect it to.

And if it works better than we expect, terrific, that's great. If it works as well as we expect, okay, that's great, too. And when it doesn't work.

Often, that's when we internalize it and we think, oh, gosh, what a failure I am, what a bad harpist I am. That's not where we need to go.

We need to be prepared for failure. If Edison had wanted to quit every time a light bulb of his didn't work, we would still be reading by candlelight. Forget this Internet thing. So, you know, you have to be prepared to go on. Failure is going to happen. And I don't mean epic fail here. I just mean something that you're not happy with. It's. Don't let it be a surprise to you because it's going to happen, something's going to be different. Surprises will happen. They might be good ones, they might not. If they're not so good, well, it's something you can learn from. I'm not being negative here. Failure may not happen. Right. You may have a terrific performance, and I hope that everyone of yours is. I can tell you, not every one of mine is.

When they're great, terrific, you know, you're doing something right. But when they're not terrific, that doesn't mean you're doing something wrong. But you have found out, like Edison, something that won't work, something that isn't going to happen next time. It just happened this time. So I want you to be prepared for the unexpected, to be prepared for something that's not going to happen the way you thought. I will also add a little caveat here, and that is this, that the things that we think our major flaws in performance are very often things that not only do other people not even notice, but we can't even find them when we listen to a recording of the performance. I can't tell you how many times I have come off stage really regretting this. One measure or two measures or one line. That was just a disaster in my mind. It was horrible and I knew exactly where it was. And then I listened to the recording and I can't even hear it. And I'm thinking, what on earth? How skewed was my perception that I thought it was just a total wreck? And now I can't even really hear it except for that one note. Our perspective is very skewed in performance. That's part of what adrenaline does. So be prepared for things to be different.

And let them be. That's okay. It happens. So how do you prepare for this? What can you do well in your practice? Be sure to play through your piece as if you were performing it.

Don't stop, you know, but put on your good pair of shoes, put on a concert dress if that's what it takes. Play it as if you were performing it. And afterwards write down two or three things that happened that were different from the way they usually go.

Do this every day for a week. Now, note the things that were the same every day. Like, ah, that didn't go so well. That didn't go so well. Again, those are the things you really need to practice. But also note the ones that were different from day to day. That's the unexpected showing up. It happens.

Now, this is actually something I often use with my students. They'll be in a lesson and they play a piece for me and the first thing I ask is, well, was this the way it usually goes at home? And that's because I don't want to waste lesson time working on things that usually work. Those are the unexpected things. They come up. I want to work on the places that always go wrong.

That's where the growth is going to happen in a lesson.

For you right now, what I want you to notice is the things that are unexpected and differentiate those from the things that you actually have to practice. So that's the first action step here then. I think what's important is to start to be realistic about the fact that things probably won't go at their tip top best ever when you're playing them for somebody. Else. So what I'd like you to do is just take a moment, don't spend a lot of time with this. Just do it fast and get it over with. Write down the worst thing that you think could happen. So maybe in a lesson, the worst thing that could happen is that you wouldn't be able to play the first measure. Maybe the worst thing in a performance would be that you'd sit down at the harp and you wouldn't be able to start.

I know somebody who used to say, well, the worst thing that could happen would be that I could die and then rate the probability of that happening. Now in that last case, I was like, well, the worst thing that could happen would be that I would die. And that's probably not going to happen. So I don't have to worry about it. But we don't have to go to quite that extreme. But think about what would feel like the worst thing that could happen and then rate the probability of it happening. Is it like, you know, greater than 50% or less? Then once you've all, once you've done that, you've acknowledged the worst thing that could happen, and you've almost certainly put it at a less than 50% chance of happening. Because if you're really thinking about the worst thing, it's probably not going to happen.

So after that, after you've written that down, forget about it. Take that piece of paper, throw it out, forget about it. Proceed. Practice as usual. You've already discarded the worst thing that could happen. Okay? And the third thing that you should do here is be able to look the fear of failure in the face. Because it's usually not failure itself that's the problem. It's worrying about it. It's being afraid of what would happen if, if you failed.

So totally aside from the worst thing that could happen, think about what would qualify as a real failure for you. Would it be having to stop halfway through the piece?

Would it be forgetting a piece and having to start over? If you're playing from memory, would it be having to stop and start over? Would that be a failure?

Notice that these are more realistic than the worst case scenario, right? These are things you can probably imagine in your nightmares. Maybe you can imagine happening. Well, so think about them for a second and imagine if that really happened, what would the result be? Okay, if you had to stop playing.

Then you would start over.

Would anything really bad happen from that? No, you'd be starting over. Is this something you really need to be afraid of? Is this something you need to fear I want you to separate the. The thing that goes wrong or could go wrong from the fear of what could go wrong. It's like the monster under the bed. Look at it. Is there really a monster under the bed?

The monster is probably less, you know, the little dust bunny that's under the bed is probably less scary than lying in bed and worrying about it. Look at it and stop being afraid of it. So what are our three things to our three attitudes about being prepared, about preparation? First, one, being focused on the experience, not on the playing. Take that emphasis off of you. Number two, be resilient. Remember, things are going to be different and this is about going with the flow. And number three, be prepared to fail. It's going to happen. Doesn't happen every time, doesn't happen in the same way, but it's not going to be perfect. So let's be prepared and understand that things are going to go wrong and not be afraid of it. Boom. Now, thinking about those things.

Does that make preparation different? Does that help you understand why practice by itself, especially practice that's over and over and over again on the same thing, isn't what's going to lead you to enjoy your performing. Enjoy playing for someone else and enjoying playing the harp, not just for yourself, but for others, is the greatest pleasure. And I want you to enjoy it and not be worried about it the whole time. So with these three additions to your practice, you're going to be able to truly feel prepared. Well, that was a lot to talk about and I hope that you got some really good takeaways from that.

I'll very quickly remind you that we have opened registration for our getaway retreat in Florida. Early bird registration, so you can save $300, is available until the end of this month, available through September 30th. So make your plans, check your calendar and see if you can join us for that. You'll find the link to more information about the retreat here in the show notes for this episode or under upcoming events@heartmastery.com next week on the podcast, we'll be talking about finger fumbles and what the real cause of them is. Should you be looking at your technique to solve them? Or is it really a reading problem? A music reading problem? And we'll be looking at five common things that your fingers fumble with and helping you diagnose what the real problem is. So it's finger fumbles and is the problem with your technique or your reading on the podcast next week? In the meantime, remember, every day is a day you can add more harp happiness to the universe, 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.