Harp and Healing: Being A Certified Music Practitioner - PHH 083

Welcome to Practicing Harp Happiness, the Harp Mastery Podcast. My name is Ann Sullivan and I'm a harpist, teacher and founder of Harp Mastery. I'm all about creating more Harp happiness in the world by helping harp players like you play the music they want the way they want. But as a harpist who nearly flunked out of one of the most prestigious music schools in the world, I although later not only graduated, but I went on to teach there. I know from personal experience that learning the harp is way harder than it looks. Here, each week on the Practicing Harp Happiness Podcast, I show you how to solve the challenges of practicing and playing the harp. Whether it's about making your fingers behave or learning music faster, or getting your piece's performance ready, or just learning to enjoy your playing every day. Sounds great, doesn't it? Let's get started.

Welcome to the show. If you have ever marveled at the healing power of music, then this podcast episode will truly blow your mind. This week I will share with you a conversation with a special guest, harpist, Barbara Lepke Sims. Barbara is a Juilliard trained harpist and an expert teacher and performer, and one of the main facets of her playing now is as a music practitioner. She doesn't just call herself a music practitioner. She is certified through the Music for Healing and Transition program and has more than a decade of experience bringing healing and peace to those who suffer now. I met Barbara when I became a board member of the American Harp Society where she has been very active, but we really connected. When we met up at the World Harp Congress in Wales this past summer, I was really curious about how she became a music practitioner, about why she chose the certification program she did, and what really motivates her about this important work. I was really picking her brain because this is a field where I have little direct knowledge and our My Harp Mastery members often ask me about this kind of playing. They feel called to share their music in this special way and I don't really know that much about it. So I asked Barbara if she would come and speak to our My Harp Mastery members on a live call to tell them more about her work, her experiences, and about how to get started with it. She did a fit fabulous presentation for our members and on this episode you'll hear much of what she shared with them. Remember that what you're going to hear is taken from a recording of a live call and Barbara was presenting slides so you may hear us refer to something on the screen that you won't be able to see on the podcast. She has wonderful information to share, though, and I know you will learn a lot. Now, if you are a My Heart Mastery member, you can find the video recording of the entire call in our Live Calls archive. But if you've ever considered doing this kind of playing, you will find this call invaluable. Also, be sure to check out the show notes for links to Barbara's website, which is sacredspaceharp.com and two very moving videos that she shared with us on the call. I want you to be sure that you listen all the way to the end of this episode. It's a little bit longer than some of the ones I do, but. But she shares with us something about her personal experience with this kind of music that I really don't want you to miss. So be sure to hang in there till the end. Now, one little item of business before we get started. Remember, our coaching registration is at this moment when I'm recording the call, still open. We have just two or three spaces left in our coaching roster for this trimester, starting in January. And if the new year is the year you've committed to.

Moving your heart, playing forward, working with one of our certified coaches is the best way to do that. So I don't want to spend a lot of time today talking about how strongly I believe in the work that our coaches do. You can check that out on our website. You can go to heartmastery.com, look in our programs, look at coaching, and on that page, if we still have spots, when you get to it, you'll see the link to schedule your planning call with me so we can get you started with a coach in January. So without further ado, let's get on with the call with harpist Barbara Lepke Sims.

Okay, well, hello everyone and Ann, thank you so much for asking me to come share with you about my passion about life, therapeutic music. I thought first it maybe it's a little formal for your group, but I always feel like I'd like to share a PowerPoint first to kind of give you the overview. And then we'll have hopefully a lot of time for Q and A, which Ann can monitor. So first I thought I'd just talk about the field of live therapeutic music, and I'm going to make five points. What is it? What's the role of a certified music practitioner? The science behind it, the benefits of it, and then about the program I went through, which is the Music for Healing and Transition program.

As you all know, one of the oldest examples of of therapeutic Music is when David played for King Saul, when David was a shepherd boy. And in 1st Samuel 16:16, it says, Seek out a man who is skillful in playing the liar. And when the evil sphere from God is upon you, he will play it and you will be well. So this is a picture from Rembrandt 1655 on that story from, from the Old Testament.

A certified music practitioner is a trained therapeutic musician who is a caring presence. We consider it an act of service, not a performance bringing comfort to others as we have been comforted. So a certified music practitioner, carefully when you walk into a patient. So we're trained to play for patients one on one by the bedside. And just so you know, this patient is a pretend patient. She's a volunteer pretending to be patient. So we walk in and we carefully observe the patient and monitor the patient's responses during the live therapeutic music sessions. And ltm, that's what that stands for, Live therapeutic music. When we play our music, we adjust the various musical components throughout the session. It's like a musical conversation. When I walk in, I assess the patient's condition and then I play my repertoire from according to what this patient is needed, needs. By the way, we have been trained. So therapeutic musicians work to create a healing environment where patients can often relax, stabilize, or even fall asleep. And when they fall asleep, we consider that a win because that means that they've really, really relaxed. We, you know, alter. I, I'm not going to go into all the meanings of the music. Maybe that could be a follow up with Ann, you know, to explain, explain more all of the music details. But we alter tempo, tempo, key, frequency and mode to create a musical intervention designed just for that patient. And that patient responds physically, physiologically and emotionally, which is pretty amazing.

Just to explain for a minute, a certified music practitioner or therapeutic musician is a place for a patient and the patient is a passive listener where the music is the therapy helping one relax, which helps one's body focus on the healing process. As opposed to a music therapist who the music therapist wants the patient to interact with them with the music for a specific medical outcome. Like when I broke my arm, you know, I had to do physical therapy, but you know, to get that specific arm feeling better. You can almost think of it like therapeutic music is a little bit more like a musical massage, whereas the music therapist is a little bit more like a physical therapist as far as getting specific for specific medical outcome. Okay, so now what about the science? You know, when I first. Sorry. When I first was looking into life Therapeutic music.

I really didn't know what to think about it. I didn't know if it was just, you know, a bunch of good stories or if it was just kind of a wooey thing or whatever. And I wanted to make sure that it was a for real thing that also hospitals and healthcare facilities recognized and honored. So, you know, it's all about vibrations. And as you know, sound waves are vibrational disturbances caused by movement of energy traveling through medium like air, water, or solids. We sense sound because it moves air molecules until they touch our eardrums or parts of our bodies. And vibration creates frequency. And where there is frequency, there is sound. And as humans, we only hear sounds between 20 to 20,000 hertz. Many frequencies are inaudible. Still, many frequencies that we encounter on a daily basis produce subtle vibrations that our bodies absorb and respond to. So, you know, here's a picture of our ear, and we utilize principles of frequency, resonance, sympathetic vibration, and entrainment. Live therapeutic music helps mediate changes in a patient's condition or symptoms. Changes may be observed in a patient's heart rate, blood pressure, rate of respiration and or oxygen saturation. So this is a picture of a physicist or scientists in 1655 who learned about and figured out entrainment. And this is one of the big things, things that is why therapeutic music works. And entrainment is when any two bodies vibrate together and synchronize together. So he had a lot of clocks in his, in his.

Office and they started synchronizing together. And so he observed this phenomena in the first place. But what happens is when I, when I enter a room and I start playing, then that the beat of the harp.

Other tempos and rhythms synchronize and start matching the beat that I play. And so let's say if I go into a room and the patient is very anxious, then what I try and do is I meet the patient in that moment and then move them to a better spot by slowing down and letting them be able to relax more. This is all about the, you know, how our body reacts to anxiousness. And I know you've all heard of the fight or flight syndrome, which is where, you know, the cortisol and the, the, the adrenaline gets in your body. And, you know, it's like originally for the cavemen, they say, and you want to either fight or you want to flight, you know, run away. And as a patient, people experience this anxiety a lot. So how do you get one's body into what we call the relaxation response? Well, one way to do that is through the playing of the music. And one way it works is not only through your ear, but through a nerve called the vagus nerve. And the vagus nerve connects the body to the neck, to the heart, to the lung, the abdomen. So you can see this picture how it goes throughout so much of the body. And it's the governor of what is the parasympathetic nervous system which controls the relaxation response. So this is an actual term, relaxation response. And if you are able to get into the relaxation response, then your heart rate slows, the inflammation becomes less, your immune system.

Has calming chemicals throughout your body, and it inhibits the patient's fight or flight response. So that's really a therapeutic music musician's goal. The therapeutic musician's goal is to.

Help the patient become.

Into the relaxation response so that they can so that the body, instead of fighting off all that cortisol and adrenaline, can relax and start healing itself and rejuvenate itself.

Research shows that live music can do all these things. Reduce blood pressure, stabilize heart rate, improve respiration, decrease muscular tension, improve body movement and coordination. Reduce need for pain medications. Relieve anxiety and stress, increase endorphin levels, boost the immune system, slow down and equalize brain waves. Accelerate surgical recovery and physical healing. Elicit emotional catharsis, induce mental imaging, foster sense of safety and well being, sharpen mental focus, provide positive distraction during procedures. Provide comfort, help with mindfulness and resilience, help with end of life transition, uplift the spirit, provide companionship. And I could probably give you a anecdote on every one of these, but I want to get through this little PowerPoint first and then we can chat.

I'm just showing too there's so much research out there. I mean you could just google anything you want to on any topic and you'll see that music has, has helped in many ways through and research has shown that. But this particular study was to show how pain, I mean music can help with pain and anxiety before and after surgery. And the conclusion of the study was that it significantly did reduce anxiety and pain in adult surgical patients. There's also, I also play at Children's Hospital Colorado and there's many research articles out about children as well. This one was done in Northeast Georgia Medical center and it was done during COVID and it showed that the stress level in the perceived stress level in healthcare workers was reduced by about 44 or 45% which is significant. I mean we've all read about and maybe you know, have friends or yourself are a healthcare workers worker and how stressful and burned out caregivers can have. I work at several hospitals and we have the electronic patient records and a way to collect the data. And at several of these hospitals, the collected data show that patients reported up to 85% improvement in pain or decrease in their pain score with the live therapeutic music and the patient's affect, which is kind of, you know, your.

What you are like, you know, are you anxious or calm or whatever. It was up to 75% improvement in patient's affect. So the patient went from being anxious to calm or even asleep. So there is a national standards board for therapeutic musicians and it's a governing body for accredited programs that graduate therapeutic musicians. It was initiated in 2004 by leaders in the field of the with therapeutic music. And it is, it was created to develop and advance the profession at bedside therapeutic music and it sets the standards for training programs. There are four programs currently accredited and I went through the one called the Music for Healing and Transition program and I ended up picking that one. So, you know, Ann said that, you know, there's four out there. How do you, how do you pick, pick, pick the one that fits you? So, you know, everybody's different and everybody gets attracted to different things. But in 2005, I was thinking about what it would be to be a therapeutic music musician. And Line and Healy, the maker of, you know, the pedal harps or lover harps 2, had a symposium in Salt Lake City featuring all the different.

Therapeutic programs. And so I went to workshops with them and I heard panel discussions. And I just ended up deciding to go with the Music for Healing and Transition program because they were very science based. And they were, they're very science based. The other thing that attracted me was that it's a 501c3 non profit educational organization and it's run by board of directors. And so I felt like, you know, the.

The entity, you know, MHTP should stick around. You know, it's not just one person's business. And if they go out of business, you know, is your certification still worth it? You know, still accepted? So that really attracted me. It attracted me that because it was an educational 501C3, there's five modules that you go through and each module is taught by a different person considered more an expert in the field. And they've trained over a thousand. I think it's probably closer to 1500 certified music practitioners. So I think it's the biggest program out there. The other thing that I didn't put down here is that they have conferences you can go to and they have all sorts of professional development classes you can take after you become a certified music practitioner. You do have to take 40 hours, I think every four years of professional development credit to, you know, stay current in the field. And they really work hard at trying to collaborate with different healthcare facilities and community organizations to educate and promote the effectiveness of therapeutic music. And as you can see those, those videos were new just this summer and we were very thankful and proud that they thought our program was worthwhile enough to, to take some videos of it and incorporate it in on their overall video. You know, you can play therapeutic music anywhere. You know, hospitals, all departments, acupuncture, massage, Alzheimer units, ambulatory surgery units. That means people can walk in and out of their surgery, burn units, dental offices, dialysis centers, hospice, meditation, mental youth health units, mindfulness, nursing homes, rehab centers. And I should say that some people also play for pets, but I'm not sure if where they play for them but I know they, that animals really respond to this as well. But I don't know that much about it so I didn't put it down.

So anyway, that's the end of my presentation and I'll, you know, you can get this information from Ann, but my email is beloved gmail.com and my website is sacredspaceharp.com and you're more than welcome. Welcome to after this program, after our little presentation and our discussion. If you have more questions for me, you know, I am more than willing to answer your questions and, and help you learn more about the field for yourself if you're interested.

Here are some really good questions.

Nancy was asking. Is the music you play mainly known tunes or is it more improvised?

So in our training we learn to work with both types and to know when to choose one or the other. For instance, it's common knowledge in the field that if you're working with an Alzheimer's or dementia person that you would want to play familiar tunes for them because that really from the error that they are most familiar with usually that's more in their college years, 20s, 30s. And so if you have an 80 year old person, you're playing more pieces from the 30s or 40s or 20s to, to bring back that cognition. And there is a, a PBS documentary called Alive Inside It. It uses recorded music but it demonstrates how it there was a documentary person going around and putting little, you know, earphones on elderly people and they became alive. You know, they were like all shriveled up and when they were listening to music from Their era, their genre that they loved, then they came alive. But there's also times when you want to play what either improvised music and, or what I call beautiful music with melodies that nobody knows, because oftentimes you don't want people to know. What. You don't want people to connect to the song because then they start thinking about the song or the words or the last time they heard this song, was it a sad situation or was it a happy situation? Instead, it's often important to play music that is unfamiliar to the patient because then that creates an atmosphere. You're working towards creating a healing environment. And you don't want the patient to connect with the song. You want them to be able to get into that relaxation response zone. And the way to do it often is not with familiar music, it's with unfamiliar music and, or improvised music. And I, I am Juilliard trained. I am a classical musician. Yes, I use my music. However, I also improvise. So I use my music as a reference and then I can improvise around it. So you don't. If you're a person who feels unsure without your music, you can still do this with your music, but you always have to have your eyes on the patient. So you have to know your music well enough. You know, you're not like looking at the strings or looking at the music. You're kind of like just have that as a reference so you don't get anxious about playing. And then you can really enjoy paying attention to the patient and playing for them specifically.

You know, I think a lot of people worry that they're not going to have the right kind of music or that they're going to get stuck and that they won't have any ideas to improvise or they don't know what they might have to learn to, to be qualified in a program like that. Is there sort of like a, a minimum standard? I mean, what would you recommend for somebody who's thinking, well, I don't know if I have the right music to do this.

I don't know if I could.

Right. So one thing in the training, in our training is that we learn how to take a piece and play it four different ways. So, you know, you can play your piece, let's say edelweiss, you know, at like you could sing to it. And then you learn how to play edelweiss at maybe 40 beats a minute, because really 50 to 70 beats per minute is the adult resting heart rate. So then you learn how to almost turn all those eighth notes into quarter notes and just play it very slowly but not boringly. And one of the things about this, this playing therapeutic music is less is better, and. But it's all about creating a beautiful tone, a beautiful phrase. It's not, you know, plunk, plunk, plank. It's.

You know, and just really creating this wonderful flowing feeling. Then there's also a time when you not might need even more space between the notes, because oftentimes when you have a patient at end of life or actively dying, they need time to breathe. And they. And what you're doing is you're focusing on the patient and helping support their breathing. And their breathing might be super slow. And so then you learn how to play, let's say, edelweiss with.

You can tell I'm not a singer, I'm a harpist. But, you know, it's all about. It's all about what do they need for support. And so in the training that you can play one piece four different ways, and. And that can be significant. We do say at the end of the program, you should know 90 minutes worth of music. Again, it doesn't have to be memorized, but it would be, you know, familiar music. Going back to what I was saying before, you kind of need to know key pieces, fun pieces from each decade, and then just some favorite songs and then your beautiful songs, that's what I call them.

And I imagine that that's. That the. The songs, I mean, there are some that you're always going to want to have because you figure they're familiar to a lot of people, but it would also become a personal repertoire as well.

Right?

Things that. That you feel good about playing.

And that's a good point, because they don't prescribe. Nobody prescribes what piece you should play. Instead, it's. They might say you need certain genres of music, but then you pick your favorite piece from that genre because it's. If you feel like I like, I say to my students, I say if it touches your heart, it will touch their heart. But if you're just playing it, to play it, and it doesn't touch your heart, it's not going to touch anybody else's heart. So it's what touches your heart the most. That's what you play. Because then that's communicated to the. To the patient.

Well, and. But if you're just. There's a question from Ebby here, which is a great one for somebody who. From somebody who might just be thinking about getting started, and he was asking if you could recommend A good therapeutic harp music book. Is there something to start from if you, you know, wanted to get some ideas and, and start a repertoire?

Well, you know what I love Louise, Louise Trotter's fake book. I just love her book.

She's got all different kinds of pieces in it. A few classical. You notice I haven't really talked about classical.

But a lot of favorites from. I would say it would, you know, be maybe the older generation, 60s and up, you know, 6,070 80s. But I just love it because it's all in the key of, it's almost all in the QC or G. And so it's very simple to play on the lever harp. It's all on one page. It and it, and you can improvise and make it flow any way you want to. And then she also has in the beginning of her book some left handed chords or left handed patterns that you could incorporate. You could say, you know, just play a whole note chord.

Over your melody or you can, you know, go boom, boom, boom, boom, boom boom, break up the chord like in a three, four time signature. So she, I, I really think she's got a great book. And then the other thing is when you.

When you get into this more, you'll get drawn to various things. Like you might get more drawn to palliative care, end of life or like I, I do that. But I really got drawn more to the children and the babies. So I play one day a week at Children's Hospital Colorado. And there I play, you know, Twinkle Twinkle Little Star and the Wheels on the Bus and you know, Incubancy Spider. And then I play the, oh, and then the other book that I use a lot is.

It'S called Music of Friends by Angie Bemis. It's a purple cover. I remember things by colors. Anyway, I love, I think I love Angie Bemis's arrangements of almost anything. So I, I recommend her books as well. And that purple book, I think it's called Music of Friends. A lot of that music is on my CD because I just loved her music and my CDs available on the website. But anyway, hopefully that will help you get started.

Yeah, no, those are some great suggestions and I think actually Angie has a couple different volumes of Music with Friends now. So I think that there are lots of things to choose from and those are really great. Stephanie has a question which I think is I know the couple of students that I've worked with as they've gone through these kinds of programs. This is a question that they certainly came up with. So she asks, after receiving certification, what's your recommendation for building clientele?

That is a very good question. And in our program, module four is all about marketing yourself and building a business.

And getting out there and talking to people.

It's, it's really good to be able to, if you can piggyback off what's already happening in the area and building from that, like in Denver, we have a lot of stuff going on. But if you're the only person, let's say, in your area, who's doing this and you've become certified, they'll teach you how to talk to your administrators. But what I always do in is, you know, you set up a meeting. It could be with the activity director.

But most of my, all of my work actually is part of the chaplain's department or the spiritual care department, because it's those departments that are into whole person care. So the hospital, so you know, the hospitals are healthcare facilities. If you look on their websites, you can see right away from their mission statement or their vision statement what, what they are feel is important. And if they have anything related to whole person care, then that would be the facility to go to. Because the music helps with the spiritual and emotional and aspect of this, of, of the healing process. So did that answer your question? Was that helpful?

Well, I, yeah, I think it was helpful because the, the thing is, first of all, okay, so the program does give you some ideas for who to talk to and how to talk to them. Because I know I would feel a little bit out of my element going to talk to a hospital administrator and I wouldn't be quite sure which one to talk to. So I think this was really helpful. It's great to know that the program helps you with it, but to think that, okay, this is where you're going to start and you don't have to make it all up for yourself. I mean, there's a, there's a, there's a system, there's. There are the right channels to go through. And because you're part of a recognized program, you're more likely to get to talk to the people you want to.

Talk to, I imagine.

Right. And that first meeting when you have somebody make sure you bring your instrument because what you want to do is, is play for them and you want them to feel how it makes them feel. And it always, always makes them feel better or different or they can tell the difference. So you always get good feedback unless you, you know, place.

Well.

So tell us about the instrument that you use for this and especially and, and how do you deal with moving? I mean you've got to sit on a chair, you've got the harp, you've got your music. So you've got that to deal with too. So what, what kind of harp do you do and do you have and do you use for this and how.

Do you manage it?

Yeah, so I, I started off with a 26 string dusty strings.

That had a lovely sound but I ended up not liking 26 strings because I really missed the bass and it's all about the tone and the sound and I couldn't afford a bigger dusty string. So Locally in Denver we have Rick Rubart who does the Merlin made the put.

Is a heart maker for the Merlin. So I play a Merlin r harp and I was thinking about this today. I'll have to send you a picture which you can send to your everybody because I'm going to the hospital tomorrow. But a friend of mine made a cart. So there's all different ways. That's the other thing is the training will help you figure out your own rig so to speak on, on you know how to, how to make it all work. But mine is kind of like a flat, a flat cart with.

Wheels on it. But they're like skater wheels, they're really sturdy. And then I have two boxes on the side that I can hold my music and it holds a music stand. And then I just move my harp around and, and in the back also is the strap to where I put my music stand. So I, I wheel myself around the hospital. I'm very, I'm self contained. That you'll learn that. They say you don't want to, you know, touch any surface because you don't know what's on the surface. So you just go in, you have your own chair, you have your own music stand or you have your own harp and you go around and then you keep going around.

Yeah, so. So you haven't.

Yeah. People, different people have different carts. I'll say that, that they've jerry rigged to make it work.

Yeah. So do you. But you haven't digitized your music yet.

No. And you know what I have decided at my age. I like, I, it's like reading a book. I like to hold my book. I don't like to look at a screen. You know, it's just something about touching and feeling the music. But a lot of people have digitized. So if you want to, you know, if you take the time to do that, that sure solves a lot of problems. But I've just Decided that I don't. That doesn't interest me. So I'm not doing it.

Well, what. What for you has been. Well, no, wait. I've got a question that I want to ask you before that. So what. I mean, you had committed to the. To the program, and you were ready to do it. Were there any surprises as you were going through the program? Things you just hadn't expected.

Either?

Either in terms of what you were. What you were learning or what. What you discovered about the way this music could speak to somebody else or even speak to you?

Well, yes, that's a good question. I.

Started. I know this is going to sound weird, okay. But I started loving playing music more. Coming from this classically trained master of music, Juilliard environment, you. You're really trying to, you know, be perfect in a way. And back when you're younger, you're working at technique and you're just trying, you know, you' just trying to, you know, be the best you could possibly be. And you're. I mean, I was always.

Outward focused, you know, how to. How do I make a better performance? You know, how can I practice more, how can I learn this music better? You know, blah, blah, blah. And. And I had a lot of, you know, I came to this later in life. I was. I mean, I'm a. Still a professional harpist. You know, I've. Since 1978, I've been a professional harvest. But I started. I also started teaching full time. And when I was getting ready to stop teaching full time, I decided I wanted to become a therapeutic musician, which I did in 2009. So I've been doing this for, you know, like 13 years. And so to answer your question, that's roundabout. But then I've got to say that the biggest Aha. Is that I fell in love with playing music again. And it's all about the patient, not the performer. And going back to what I said before, it's all about making a. You know, when you go in and play for a patient.

You'Re there to create this healing atmosphere, to help connect with them heart to heart. And how you do that is by playing these beautiful melodies and creating this beautiful tone and just having these vibrations fill the room with such beauty and empathy that like. Like you saw one of the videos, you know, it's like, wow, that's touching me. And it's also touching them. And it's like this really sacred space. So I guess another way to say it is that all those years to practicing and playing the harp, finally have kind of come together in this beautiful service to to people and and having music mean much more than just playing the notes.

Wow.

What a thought right.

Through your playing for others. And for Barb, it was in this special way of sharing her music with others, you can reconnect with your own love of music. How did she put it? She fell in love with music again. How powerful is music this thing that we do and how lucky are we to be able to do that once again? That's the harp happiness that I like to think of all of us putting out into the ether, out into the world, out into the universe. There's so much that we can add to our lives and to the lives of others through our playing. No matter where we play, no matter what level we play at, no matter how good we think we are or.

We or what we think we should.

Be doing, it's not about the shoulds, it's about the music. And all we have to do is play. So quick reminder, we still have coaching registration open, but you have to jump in there very fast because if it's not already closed by the time you hear this, it will be closing very soon because our coaches rosters will be full. Join me on the show next week when we're kind of going to do a little bit of an end of the year look back and a new year look ahead and we'll talk about what might be in store for you and your harp playing in the new year. In the meantime, have a wonderful holiday and do please remember that holidays are not every day is a day you can add more harp happiness to the universe, to your world, to your spirit, and all you have to do is play. Thank you so much for listening. Have a very happy holiday and I will talk to you next time. Thanks for tuning into 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.