Love Your Chords! 3 Ways To Make Them Lush and Lovely - PHH 039

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, the 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 and happy Valentine's Day. I hope you're doing something today to celebrate someone you love. And in case you're short of ideas, you and your harp are the perfect Valentine's love story. I mean, after all, think about it, right? You met your harp, you fell in love with it, and the rest is history. Of course, like any relationship, this love story involves hard work, too. Now, when I talk about harp happiness here on the podcast and elsewhere, I'm talking about that love connection you have with your harp. That magical feeling that you began with that drew you to the harp in the first place, and about continuing that feeling, deepening it, nourishing it, helping it flourish. Now, of course, sometimes harp happiness has its bad days. Those days when the joy just isn't there, those moments of frustration are the bumpy road of any harpist journey. And I'm all about trying to help you over those bumps. Now, today's podcast is about one of the major bumps in the road for all of us harpists, and that's playing chords. We want our chords to sound lush and lovely, but sometimes they just come out like a disorganized cluster of random notes.

Have you ever noticed how how people who don't play the harp talk about strumming the instrument? I mean, that's a lovely image, right? But we harp players know that a lot more goes into playing chords than simply strumming. In fact, strumming has almost nothing in common with actually playing chords. You have to place multiple fingers quickly and accurately on the strings and then play them either at exact the same time or with a beautifully modulated roll. And if just one finger sounds too loud or too soft, the entire effect is Ruined. Nope. Strumming doesn't come close to describing what we do. So if you find playing chords challenging, know that you are not alone. In fact, harpists who have very little trouble with most of the music that they want to play still often find chord passages difficult. And there's nothing worse than having a stumbling block like that slow the rest of your progress down. Now, if you've been playing the harp a long time, you may not remember how hard it was to learn how to play chords. But maybe you teach as I do and are faced with the challenge of helping your students through this difficult stage. Well, whatever your challenge may be with chords, I'm going to make things a little easier for you. I'm going to on today's show, I'll talk about the reason that chords are difficult. Because you'll see it's not you. I promise. Chords are hard, and once you know why they're so hard, you can work on the skills you need to develop to play them more easily. I'll also talk about the three basic elements that you need to practice, and I'll share some of my very favorite quick fixes with you. Plus, I will give you a free worksheet with drills that you can use to make your cords as lush and lovely as you want them to be. Sounds like a perfect thing for Valentine's Day, doesn't it? Okay, well, speaking of gifts that you might want to give to someone you love, how about giving yourself the gift of a spot at our getaway retreat? We have one spot left, and I wanted to remind you because we will be closing a registration this week. So if you are at all interested in joining us for our March getaway in Florida. And what doesn't sound good about a harp getaway in Florida in March.

I would love to have you join us. We are. We have a beautiful house just for us. And we'll be, you know, making that our, our headquarters for everything, everything we do at the getaway and, and I would love to have you be a part of that. Be a part of the. The harp learning. I'll be joined by my very good friend and colleague, Mary Jane d'. Arville. You might know her from the Atlanta Harp center and Virginia Harp center, and she'll be doing some teaching as well. And the two of us will be working with the students one on one. We'll be doing master classes, workshop, playing a little bit in ensemble, and having a lot of fun. So I'd love for you to join us. If you hop over to the Heart Mastery Page under upcoming events. You will find the link to register and I'd love to have somebody take that last spot. It would be great. Um, so that's coming up. Um, and I, you know, hoping that you'll join us also. Remember, next. Well, no, in two weeks, we will be having a very special episode of the podcast and I will be answering questions that have arrived in my email. So if you have a question about harp playing, about technique, about anything you've heard on the podcast about harp music, about. Well, you know, maybe you're having a problem that you'd like some advice with about the harp playing, of course, and send those to me@podcastartmastery.com and I'll be happy to answer them on that show in two weeks, two weeks from today. So that's all I think I have to talk to you about before we get on with the topic for today's show, and that is talking about chords. Let's start by casting your mind back, if you will, to when you first started the harp. Think about what it's like for a beginner on the harp. The first thing you do is you learn to play things that are just one note at a time. And you're working on your position, your technique, all that good stuff. And so, you know, one finger at a time is where we start. And we very quickly go to working on two fingers at a time. And that's usually thumb and second finger. And this is a development in skill. If you think about it, you're not just working at putting two fingers on the strings at the same time. You're thinking about the opposition of, of their motion, of how they play together. And we're trying to get them to play at the same time. And you want them to play with a pretty balanced sound. And right from that very beginning, when you're playing chords of just two fingers, just two notes, which we would kind of call intervals, right, if they just have two notes. So right when you start at that level already, you're concerned with the, the three most important ingredients in playing any chord, and that is that your fingers are placed accurately, that they're playing at the same time, and that they're playing with a fairly equal sound. All of those come into play right from the beginning from just two fingers at a time. Then a little further along the line, you add that third finger. And this is when stuff really starts to sound pretty because three finger chords sound so much fuller than just two finger chords. And they're beautiful and they're really great and so now you're worried about making three fingers place accurately at the same time and close so that they're, you know, even so that they have the same volume, the same sound, and that they play at exactly the same time. And we also introduce one more element, which is, yes, sometimes we want them to play at the same time, but sometimes we don't. And so we can roll them. So three finger chords are really exponentially more difficult than just two finger ones. Because now we're not just placing and playing them evenly or and playing them at the same time, but we're also learning to roll them. So there's a lot that goes into playing three finger chords.

And so naturally, when you add that fourth finger, this is even more difficult. It's not just a little bit more difficult, it's a lot more difficult. And you probably found this out for yourself. Maybe that's the stage where you are now, where you're like, well, three finger chords aren't much of a problem for me at all. But add that fourth finger and I'm not sure I can place them accurately on the strings, let alone play them evenly or all at the same time. I always have one finger that sticks out or doesn't play or plays late or whatever it is. And if so, know that that is absolutely the experience of every harpist. Three finger chords, way harder than two, but four is way harder than three. It's not just a little step up, it's a big step up. And that's when chords really get challenging. Now if you're at the stage where you're just working on three finger chords, that's hard too. And the stuff we're going to talk about today is absolutely essential for you. Whether you're playing three note chords or four note chords, or even you're just on intervals. Now, whether you're playing chords that are just one hand at a time, or maybe two hands at a time, which of course is even more problematic. Right? More notes to place, more notes to balance, and more notes to either play at the same time or roll evenly. So chords are difficult because they involve so many things. So let's talk about these things sort of in an order.

The first thing we can look at is making our fingers even. What do we talk about, what do we mean when we're talking about even fingers? Well, we mean that all your fingers are playing so that they sound balanced. They have about the same tone and about the same dynamic. So it's really evident if you have one finger that sticks out or one finger that doesn't play at all. But maybe you need to learn how to just test it. So I'm going to offer you this real simple way. What you want to do is take a four finger cord or a three finger cord, if that's where you are. Put all your fingers on the strings. Check your position, check your posture. That's always good, right? Make sure that your hand is relaxed. Then play that chord very, very softly. The softest dynamic you can manage. Close your finger.

But listen. Listen to your hand, listen to your fingers. Listen to how that sounds. Do all your fingers play at the same time? It's a good thing to check there. But can you hear all four notes? And if you can't, if you're not sure that you're hearing all four notes, play that first note. Well, that was sloppy, wasn't it? Play that first note. There it is. And then play the whole chord.

Can you still hear it? Yeah, I can still hear it. What about the note your third finger plays? That's the note you're listening for. You can hum it to yourself if you want. And then just play the chord again softly. Can you hear it? Yeah, I can hear it. There it is. I can hear it. And do the same for your second finger and your thumb. But that very soft dynamic makes it easier to hear in if your fingers are even. And so you can check the fingers just the way I mentioned. And then try playing the fingers all together just like that and make a nice crescendo. See if you can still hear all those notes at a mezzo piano and a mezzo forte and a forte dynamic, just to see where they are. That's a great way to test if your fingers can be even. Be sure to close your fingers. That's really key here. Your fingers need to close. One of the most important things about chords is closing your fingers to play the strings, not pulling away from the strings. Right? We don't want to pull your hand away. You just want to close your fingers. Okay, so there's another thing that you can do to help you develop a little bit more independence of your fingers in a chord, which will help you balance chords. So what you can do is try playing each finger louder than the others. Play your soft, dynamic chord.

But then play your thumb a little bit louder. That shouldn't be hard, right? Make your thumb louder than the other fingers. My thumb has a really hard callus on it today. There you go. Now, so it's kind of extra. It's not the most pretty sound in the world. Okay, I Can make my thumb louder. Now let me bring them all back to even again. Okay, now can I make my second finger louder? That's this note.

Yeah. Okay.

I could have done better. It's interesting. It's an interesting exercise. And do the same. See if you can get your third finger and your fourth finger each to sound louder than the others and then to bring them back to equality again. It's a really good drill. Think about those pieces that we love that have lots of arpeggios and things in them. This will help you balance the melody as it goes from finger to finger, perhaps in an arpeggio. Funny how chords and arpeggios are so closely related, right? Okay, so that's step one. You really want to work at your fingers being even. And you can do this hands separately or hands together too.

Step two is what I call predictable placing. And this is getting all your fingers to the strings at the same time. Right? What we just did was a drill that was based on the fact that your fingers were already on the strings. And that's good because that's how you're going to play your chord. But we really have to get them to the strings and ideally we want to get them all there at the same time to place them as a group. That this is, as you know, not just important for chords, but it's also important for arpeggios. So you really want to get there. And a lot of this has to do, believe it or not, with the way you read the notes on the page. Because when you are reading just an interval that has just two notes, you pretty much have time to read one note and then the other. When you're reading three notes, you can read those chord shapes pretty easily. Most of the time when you're reading four note chords, the shapes are a little bit more complex and there are too many notes to read them one by one. So usually what people do, what we, you know, it's our line of first defense, we read sort of only the top note or maybe only the bottom note, depending on what we're looking at at the time. And it's those middle notes that are the challenge, right? Your thumb might be able to see where it is, and your fourth finger might be able to see where it's going. But 2 and 3 can get all screwed up. And this is where most people start looking for the shape of the cord. What a lot of people will describe as finger sandwiches, right? Are they toward the top, the middle, the bottom? You know, do they have a space here? Space There and what those positions look like. And that's pretty helpful. But to benefit from the finger sandwich technique, you really have to have a system for knowing which one's right and which one's wrong and knowing how to place them to start with. So by itself, finger sandwiches is not, you know, that's not the only technique you're going to need. What you really need a technique for is being able to see those inner notes, being able to place all the notes at once, to. To be able to look at them and see them. So when you are working on a chord, the first thing I want you to think about is, you know, maybe you're working through a chord passage and you're trying to find those. Those chord shapes. What I'd like you to think about is that I want you to look at the chord, see it, then place it, then play it, and listen to it.

Were those the right notes? Were they not the right notes?

Don't just play a chord over if it sounds wrong. Oh, that wasn't the chord you meant to play. If it sounds wrong, don't just play it over. See if you can identify which note sounded wrong to you. You know, if I played this chord, this one, and I really meant to play this chord.

What I would do, having played that wrong? Oh, it was my third finger that played wrong. Okay, that was the note that was wrong in the chord. I do this with my students often where they'll play something wrong and their first reaction, their first instinct will be to play it again. And I'll say, no, wait, stop. What was wrong about that chord?

And sometimes they only observed that it was wrong. They didn't observe what was wrong with it. And you're going to learn more, much more, by taking that extra moment to think about which note in the chord was wrong. And if you say, okay, let's see, you know, bloomp. And I think my third finger was wrong. Okay, well, what note should your third finger have played? My third finger should have played an E. Well, try it again. And, oh, there it is. So you can learn something about the sound of a chord that way. So I would say do that first. Make sure that you're always doing that in your practice. When you play a chord wrong, don't just stop and play it over. Take that moment to think about what was wrong and what you want to fix. Then fix that and see if that does fix the chord. You're training your ear and your eyes at that point, Believe it or not, but I have a drill that I really like. For learning to see those inner notes and to place them more accurately.

And it's this. So suppose you have a chord passage like this.

Okay, well, let's just do up these four chords. There you go.

Try playing that little passage with just the outer notes.

Okay, well, that was easy. They were octaves. How about just the top two notes?

How about just the bottom two notes?

How about the middle two notes? Ooh, that's different, isn't it?

And play through it in all those different combinations, and that will help you really learn about what those chord shapes are like, and it will help you place them so much better. Any chord exercise that is like that, that has broken chords, I'm thinking specifically, let's see, the salsato conditioning exercises are good for this, but you can find them in just about any book exercises that are based on three or four note chords and have you play them in different combinations of notes. Maybe like that, or perhaps this, or inside and out, right? All that, all those different shapes, looking at the chords from all the different angles, not just from the top note. And of course, working on it that way with both hands, that's what's going to make your placing predictable. And when your placing is predictable, you can get to the strings quickly and accurately. Then you can start to play that beautiful chord, right? So once you get your fingers on the strings, then you can play evenly and everything is good.

And then we have that third dimension, the time dimension, right? That's where all your fingers either have to play beautifully together.

Or they have to have a rippling roll.

Now.

Rolls are amazing. They are so powerfully expressive. They're one of the most useful and expressive tools that we have. A rolled cord could be gentle, it could be majestic. It could start slower and get faster, or it could start faster and get slower toward the top. It could get louder toward the top or softer toward the top. It can be a fast, crisp roll. It can be something just absolutely delicate and sweet, all in the speed and. And the dynamic of the roll. There's so much there, and it's so wonderful. But you have to have your fingers all placed at once. Okay, we just did that. And your fingers need to be able to play evenly, and we've worked on that too. When your chords are under a melody note, right, Then the timing of that melody note is paramount. So when you roll a chord and it's part of a melody.

For instance, that melody note, that thumb needs to be on the beat. So your chords are generally going to be rolled before the beat, rather than taking up an entire beat in the measure. So they're usually rolled right before. And so the melody note, the top note, comes on the beat. Now, there are exceptions to this, but that would be the. The general rule.

There are some other considerations for rolling chords. Obviously, you know, I talked about the choices that you have with them, so the choices are yours. But there are some important principles for doing them properly. And one is that you want to keep your hand steady. Be sure you don't pull your hand back as you play the chord. Don't roll your hand with the cord. Just close your fingers into your hand. Your hand itself doesn't move, just your fingers. They're just closing one after the other. Boom, boom, boom, boom. And that's what rolls the chord. But if you roll your hand at the same time, then you're changing the angle of your finger on the string, and you're going to make your fingers not play. Not. They won't be playing in the way they're used to playing, right? When you play all those notes together, like a flat or an unbroken cord, your hand stays in one place and your fingers play the way they're used to playing. If you roll your hand back when you roll the cord, your hand's going to be tipping, your fingers are going to be out of position, and they're not going to have the control that they had when you practice them just nice and unbroken. So you really need to be vigilant about this. Don't roll your hand. Just close your fingers. Think also about having a very gentle thumb sound. My thumb doesn't sound too good today. It's got that nice hard callus, and I haven't softened it up here, so. But let your thumb be gentle. Don't let your thumb. Even though it knows, your right thumb particularly knows it's the melody note, don't let it slam itself out. Same with the left hand, fourth finger. Left hand, fourth fingers tend to be really strong because there are bass notes, right? But don't let any one finger dominate. And even when you want to project that melody with your right thumb, think about pressing the melody out with your thumb more than pushing hard or plucking hard. Okay? So those are the considerations to think about when you roll those chords. Also, if you have one of those wonderful multiple hand chords, right, it's got like a crossover left, right, left. Do practice it this way. Whatever those top groupings are, start with the top two hands of notes and play those properly. And then add that next hand down until you've got the whole Chord there, because that's a matter of aiming. And you want to be sure that you know what those top, top couple of groups are. So that's the big thing for rolling chords. Just stay relaxed and close your fingers. And after that, once you're doing those things, you're. It's just a matter of how leisurely you want the roll or how crisp you want the roll. So. And everything in between. Maybe you want the chord to have a big diminuendo in it. Maybe you want it to crescendo up to the top. All of that comes from the technical control that you developed when you were working with your even fingers, right? Making them sound, one after the other, the same or different. Okay, so even fingers, predictable placing, rippling rolls, the three things you need to work on when you're playing a chord. Now let me talk about some quick fixes that I know in case you need some first aid for your chords.

One of my favorite quick fixes is practicing what I call dive bomb placing. And dive bomb placing is simply getting all your fingers on the chord the first time, sort of from midair. So what you're going to do is, you know, take a look at the chord that you want to place. You're going to do this. You can do this with any chord that you need to play in a piece. But. But I like just taking any chord and practicing this. This will help you practice.

Practice the shapes, right? We were talking about those finger sandwich kind of shapes before. And this will help you practice it and help your fingers know how to aim properly for it. So what you're gonna do, get that chord in mind, you know, know what chord you're going for. And then put. Put your fingers on those strings and feel what they feel like. You don't have to play it, you just have to feel it. Okay, Take your hand off the strings, then hold your hand up in the air. Not super up in the air, but as if you were raised away from the strings. Open your hand to about the shape that you think the chord is going to be and drop it on the strings. Dive bomb it in there. Just drop it right on the strings. You don't even have to play the chord. Just look where your hand landed. Were your second finger good at gauging the distance? What about your thumb and fourth finger? Now your thumb and fourth finger will probably know about the spacing for an octave. They should be pretty good at that because they do it all the time, right? So your dive bomb placing for 1 and 4 should be pretty good. 2 and 3. They're the ones you're going to want to think about. And so if you want to work on dive bomb placing a little bit more, have a few different shapes of cords in front of you while you're working so that you can do one and then the other and then go back and forth between them. But once again, here's the procedure. You're going to put your fingers on the strings just to feel what the cord is like. Take your hand away, close your hand, right? We're not cheating here. Then put your hand up in the air, you know, six inches, whatever, away from the strings, more or less, depending on what feels normal for you. Open your hand to something you think approximates the shape, then drop it on the strings. Now, here's the deal. You are allowed to watch your hand and to adjust it. You know, you can adjust the. Those fingers as they go. If you say, oh, I'm way off, you can stretch it more. But the idea is that when your fingers get to the strings, those are the strings they're on. And you don't get to adjust it because we're trying to get them on the right strings the first time. Now, eventually, you can try this drill with your eyes closed, right? Decide what chord you're going for. Pick your hand up, open it up, close your eyes, dive bomb onto the strings and play this chord to see how close you came. Where were you? You can even combine this with that drill I talked about with. With placing before, right? You can open your hand, right? Close your eyes, dive bomb in, play the chord and decide which notes were right or wrong before you test that chord and see what you really should have played, right? It's like, oh, okay, wait, those notes were. Everything was, was. The spacing was right, but it was all up a step. Or I missed with my second finger, or I missed with my third finger, or I overreached with my fourth finger or my thumb or whatever it was. But dive bomb placing, practicing that and practicing it with your eyes closed, right? Which will simulate a real life playing situation where you're trying to read music and play chords at the same time. We don't always have the luxury of looking at our hands.

So this is a really valuable drill. Don't spend forever at it, but a little bit of practice with this will go a long way toward helping you learn how to place your chords.

Now, when you have a whole passage of chords, that's when things get. Get really tough, right? You can be going along. I know. I have students who like to use the, the warm up exercises in the back of the Yolanda Conde Nasus book on playing the harp is what it's called on playing the harp. And she's got level one, two and three warmups in the back. And they're really great. But each of those warmups has, has a little two measure section of chords that comes up in the middle of these various sections of the warmup. And I have a number of students who can get through the warmup at one tempo and then they come to the chords and they nearly grind to a halt. So we work on practicing that kind of a chord passage in ways like this. First of all, one of the easy ways to work with a passage like that is to look for anchor notes, right? We tend to, we look for the finger sandwiches, we look for all those shapes and those are all vertical. But look for what I call the anchor notes, the notes that stay the same from chord to chord. Maybe everything goes up, maybe everything goes down. Maybe one or two notes actually don't move between one chord and the next. Just remember there's a horizontal relationship between those chords. So don't. You don't have to think of every chord as its own separate problem to be solved. It relates to the next one or to the one before. So look for those fingers that stay the same to help you with the placing and to make those chords more accessible. So looking for the anchor notes is good. And if you want a drill to do it, I love this one finger bouncing ball drill. If you've got a whole passage of chords, choose one finger like your thumb or your second finger, your third finger or your fourth finger. Right? They're the fingers we use. So choose one of those and then play the notes that that finger plays all the way through the entire passage of chords. Pretend your hand is like a little bouncing ball. So it's going to land exactly where it needs to be at the precise moment it needs to be. As you play just that one finger, all the second finger notes, and your hand is just going to beautifully go back and forth from note to note and play all the notes in that passage. This will give you practice at reading and learning and hearing those inner notes in the chords. And it will help your hand know where it needs to go and exactly how far it does or doesn't need to move. And when you're good at that, then increase that drill and do it with two fingers. Play 2 and 4 or 2 and 3 or 1 and 3 or 1 and 4. But pick whichever two fingers you want to play and play through the whole passage that way. Again, just making those fingers, the little bouncing ball that goes from chord to chord. It's very effective.

Now this is similar to what I was talking about before with practicing those inner notes and practicing those groups of notes in a chord. And those are the drills that I've put together for you on this little PDF. And so I've created this, this sheet of chord reading and placing drills, which is a big sort of highfalutin sounding name for, for this. Where does that word highfalutin come from anyway, in any case? So this is a sheet of, of drills to help you read and place your chords better. And it's not, you know, it's not profound for sure, but it will help direct you through what I was talking about before about playing groups of your fingers. So here's a little chord passage. Play through it with these two fingers, then play through it with these two fingers, then play through it with these two fingers. And there are hands separately drills and hands together drills, plus a little, little chord passage that has changing shapes of chords that may be helpful for you too. So you can work through those drills. You can look at that, at those passages too. In terms of anchor notes, you can try the dive bomb placing, but you can certainly try reading those other notes, those inner notes of the chord and the different note groupings that help make up the chords. And you'll see that there's a huge improvement in any chord passive that you play. As soon as you use these techniques, you just learn so much more about the chords and your hands learn so much more about where to go. So the, the, the placing drills page that's free for you, all you have to do is click on the link in the show notes and you will go right over to a page where you just, you know, give us your email and we'll send it on over to you. So the chord reading and placing drills PDF is yours, and I certainly hope you take advantage of it and try these drills because I think you'll find how much they help your chords. Because once you can place them, once your fingers are even, and once you work on those nice, even rolls or playing your chords all at the same time, or both your chords will be as lush and lovely as you want them to be. Wow, that's a lot of information about chords and how to practice them in a very short span of time. And yet I know there's so much more about this topic that we could talk about. So if you still have Questions. If you want to follow up on anything that I talked about here in the podcast, the best thing to do is to send an email to us@podcastarpmastery.com and remember, if you have questions on chords or if you have questions on another harp topic, send them in because we'll be doing a show based on your questions and my answers, which I hope will be helpful for you in just two weeks. So send in those questions and I'll be happy to do what I can to answer them. So that's our chord drills for today. Please do take advantage of the PDF. You'll find the link in the show notes. You can hop in there and get that. We have that one getaway spot left, so don't miss out on that if you're thinking about it. But I just hope that this show on chords has been really helpful for you. And as I said, if you have questions, just let me know and we'll do what we can to answer them. Next week here on the show, we're going to be talking about moving up, about finding that next rung on the ladder. In my heart mastery, we have a scale of success, and I'm going to be talking, talking about what levels mean to harvest. You know, if you're a beginner or an advanced beginner or an early intermediate or an advanced intermediate, what on earth does that mean? How do you know where you are? How do you know if you're a beginner still or if you've moved up to intermediate? How can you tell? And how do you move up? And what do those levels mean? Well, there are some indicators, some signature skills that differentiate one, you know, rung on the harp ladder from the one right above it or below it. There aren't, you know, it's not as concrete and as crystal clear as some of us might like, but there are some signature skills, some particular important things that when you know them, you know when you can do them, you know you've moved on to the next level. So that's what we'll be talking about next week, how to recognize where you are and how to change that. And believe me, if you've ever gone to a harp store and looked at a piece of music that says, you know, this is for early intermediate, and you're scratching your head and saying, I, I just played a piece for advanced intermediate, and it was easier than this one, and I don't understand, we'll be talking a little bit about that too. So helping you solve that little dilemma. So, but that's next week on the show for the rest of your day. Today it is Valentine's Day and I hope you play some music that you love and maybe play some music you love for someone you love. What better Valentine could there be, right? I look forward to talking with you right here next week on our show. Have a wonderful week. Until then, see you. 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.