Never Have a Bad Lesson Again - PHH 152

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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. When I was preparing for this week's show, I couldn't help being reminded of a couple of really tired, really old jokes. Like the patient says, doctor, it hurts when I do this. And the doctor says, then don't do that. Or the patient says, doctor, it hurts. I don't know what's wrong. And the doctor says, well, take two aspirin and call me in the morning. Well, when we're thinking about our harp lessons, we may sometimes think of it like a doctor patient relationship. Something's wrong with our playing and we want to get it fixed. Give me the prescription and let me go home. Or we may think of our lessons in a less transactional, more relationship based way. Our teacher isn't just our expert harp guide, but our friend as well. We look forward to our lessons as a time to reconnect with our harp and with our teacher too. Now, while both of these scenarios may be accurate to some extent, neither one truly describes what a music lesson is or should be. If our lessons are purely transactional, just give me the script, doc. We're missing out on the deeper experience and knowledge our teacher can offer us. If our lessons are mainly relational, we may find ourselves meandering through a succession of pieces and wondering if we're really making progress. Fortunately, most teacher student interactions have a little of the best of each of those scenarios, plus a whole lot more beneficial instruction and guidance. But all of that can sour very quickly if you have a bad lesson. And that's what we're going to discuss today. First, let me say that I don't like the term bad lesson. Oh yes, I had plenty of them in my student days. The kind of lesson that would leave me in tears, frustrated, angry, wanting to quit the harp. From the perspective I have now, though, with decades of teaching experience, I can see that most of those bad lessons are were the best learning opportunities. They were the times when my teacher's expertise and guidance made the most difference for me. They were the lessons that taught me the most about harp playing and being a harpist. I simply didn't have the perspective at the time to understand it. Now I believe adult students generally bring a more sophisticated and mature viewpoint to their lessons, and usually so called bad lessons aren't an issue, but they can still happen. Occasionally you have a lesson that leaves you feeling demoralized or frustrated. And that's what I want to talk about. I want to help you sort out the facts from the feelings and help you set clear expectations for your lesson outcomes. And I'm going to give you my not so secret tips for preparing for a lesson so that you know every lesson will be a good one. And I won't ignore those bad lessons either. I'll share my best pep talk with you too. Plus, I've got an equation that might really help you understand a little bit more of what you can get from a lesson. So you might want to go scrambling for a pen and a paper to take some notes. If you're in a place where you can do that right now or you can come back and listen later and take those notes, you can just listen carefully now because I've got a lot of work. What I think will be extremely useful information to share with you today. Before we dive in though, I want to catch you up on a couple of things that are happening at Harp Mastery. For those of you who heard last week's podcast, that would be episode 151 where I talked about the three finger four finger chord dilemmas and how to center your hand. The special warmup that I'm going to be doing the the live warmup will be next Monday, April 22, and that's at 11am Eastern. And that's gonna be helpful for you if that podcast piqued your interest, because it'll be on video. You'll get to see what we talked about. So sometimes it's much easier to see these things than to just hear about them. And so we'll be doing that. That happens live in the Harp Mastery Hub. And if you're not a member of the Hub, it's free to join you'll link on our homepage@heartmastery.com and you can just join the hub and look for the meetup that will be happening on April 22nd. It will also be broadcast live on YouTube and so you can watch from our channel there if that's what you prefer to do. So the live warmup will be happening next Monday, April 22nd at 11am Eastern. Be sure to join me for that. And then we have opened registration for our certified coaching program for the spring summer trimester. The lessons start next month in May, but signup is now and signup closes a week from today. So you need to get in there and get yourself registered. At the end of this podcast, I'll tell you a little bit more about the coaching program and how it's different from lessons because I think after our discussion today, it will help you make some sense of what the coaching program is, what a lesson is, and how all these things can work together for your growth in your HARP journey. So I'll tell you a little bit more about the coaching program, but if you want to read more for yourself, you will find the link to read more and to register for the program in the show Notes for Today or on the coaching page@harpmastery.com remember, you only have a week from today. That's the day this podcast goes live in order to sign up. So don't miss your chance to work with one of our certified coaches. They are the best. So here's that equation I was telling you about. I was listening to a podcast and the podcast host said that mindset equaled your interpretation plus your identity. And they talked about that for a while and I was really intrigued with the concept. And then I realized that I could tweak it a little bit and apply it to what we're talking about today. A lesson equals the input we receive.

Times our interpretation plus our identity. So it's about input. Obviously we're receiving input from our teacher and it's about our interpretation of that input and a little bit of our identity too.

That's what makes a lesson and that's what can make a lesson feel really bad. But what happens is that I think a student and a teacher define bad lessons differently. I think for most teachers, a bad lesson is one where the student hasn't practiced and they expect the teacher just to keep on teaching them anyway. Now I always, for my own students, tell them if they have a week where they haven't practiced, that's okay. Come to the lesson because we'll make It a working lesson, and we'll keep on going and that's fine. We'll get them back on track and making progress again. If that starts happening every week, then I think we have a problem. And from my point of view, that's when we start having bad lessons. Because I can't teach somebody who isn't doing their own work. So that's one thing. But I don't think a student, at least when I was a student, that's not what made a bad lesson for me. Yeah, I felt bad if I hadn't practiced. I knew I was going to have a bad lesson and I knew was going to be my fault. So that's different. But when you have a lesson that makes you feel frustrated and disappointed and all that sort of stuff, it's those feelings that are so dangerous because they can stop you in your tracks and make you question everything that you're doing. So while we'll talk about all three of those components and input and interpretation and identity, I want to start out by talking about expectations, because that's where we really get into some tricky things. I think most of us, most of the time have pretty reasonable expectations for ourselves. But there are those times when we go into a lesson feeling like we really want to or expect to just wow the teacher with our progress. We're going to play it the way it went at home and, and it's going to be great.

But that's not what a lesson is for. Right? A lesson isn't to be a performance, it's for learning. We don't have to come in and play an exam for our teacher. We're not playing to be judged. We're playing in order to get input and to move further along the journey for that particular piece or exercise or whatever it is. Mistakes or are part of the process. They're expected. They're even necessary. You might have heard that famous saying, if you aren't making mistakes, you're not working hard enough. And there's some truth to that. I mean, I don't want you to just start working hard on purpose to make mistakes. That would be silly. But the thing is that that saying sort of helps us understand that mistakes are how we grow. They're part of this process. So remember that when you go into a lesson, it's not a critique of your playing. It's not a reflection on you. What happens in that lesson is a snapshot of the work that you've done since your last lesson. And it's that opportunity to have your progress assessed and checked. It's an opportunity for recalibration. And yes, you have to play in what can feel like a stressful situation or a little bit of a performance idea. You have to play because that's how your teacher knows what's going on, but they're not judging your performance in that way. And when we start coloring it that way, that's a problem with our interpretation of the moment. So let me give you a different way to think of a lesson.

I think a lesson can be compared to sort of a stop at a gas station when you're on a really long road trip. You know, you pull into the gas station, you've been driving for a few hours, and first thing you need to do is you need to fuel up. And then you want to, you know, check the tires, the oil, the coolant, all that good stuff. You want to check the map, and you want to make sure that you're still on the right route and figure out where you're headed next. So in terms of a lesson, yeah, a lesson is there to fuel you up. Your teacher is going to acknowledge your efforts and your growth, and hopefully all of the work that you do in your lesson is going to inspire you and motivate you to keep on going. It's going to put more gas in your tank.

And of course, your opportunity to check the tires, the oil, all that stuff. We need to check what's happening. We teachers need you to play. It's not enough for you to tell us, well, I'm still having trouble with these two measures. And then your teacher just says, you know, well, why don't you fix those? And here's how to fix it. You know, that's the sort of take two aspirins and call me in the morning approach. We need to hear what's going on. We need to see what's going on, because then we can give you the right prescription, we can give you the right practice strategies. If it's not working, we need to see that, warts and all. So we're going to check what's happening. We're going to check the tires, check the oil, check the coolant, and add what we need, tweak what we need, get you so that you can get back on the road. Yes, we're going to check the map. Are you still on track? Where did we want to go? We're going to look at that destination. Are we still going there? Are we still moving ahead? That's what we need to find out. Yep, we're still on track. Okay. And if not, then maybe we need to recalibrate, right? And we're going to confirm that route. We're going to decide on those next steps. What are the next things you have to do? What's the next leg of this journey to this piece like for you? What is it going to entail? What will you need to do? And where are those signposts along the way?

That's what the lesson is for. Nowhere in there is their judgment. Nobody is pulling into the gas station saying, well, gosh, I can't believe we need gas. We've been driving for, you know, 400 miles. What, you couldn't get some extra mileage out of this tank of gas? Nobody's blaming the tires for wearing out or needing air. Nobody's blaming the engine for using oil or coolant. We just fix it, right? That's what this is for. There's no judgment. There's no blame. It's just fixing. It's recalibrating, it's reorienting. It's refreshing, and it's moving along. Another way to look at this is to think that it's about feedback and focus and the next level. It's about the feedback that our teacher can give us. This is, I see what you've been working on, and is that working for you? And. And I see this, and I see that, and maybe we can tweak this, and good job on this, and, ooh, I can help you a little bit with that. It's about what to focus on so that you can move to that next level. What does that next level look like? Where do we want to go and how do we want to get there?

Remember again, that your teacher's expectations are probably different from yours. I mean, if you're like me and you, you know, you want to go into that lesson and have your teacher say, yes, well, well done. Let's go on to the next thing, right? It's like, yep, okay, great. Congratulations. Gonna put the gold star on that. Oh, gosh. I remember being a young piano student and waiting for the sticker. You know, I'd play my piece, and I'd be like, okay, what kind of sticker am I gonna get? Am I gonna get the excellent sticker? Am I gonna get just the, you know, the picture of the pretty flower? The picture of the pretty flower meant, yep, we were okay to move on. But the excellent sticker, that was the one that we wanted, you know, so I don't have stickers that I give to my students, particularly not my adult students. But that's the idea. We sort of still want that sticker, don't we? But that's not what a teacher is expecting. The teacher is expecting from you only these things that you've practiced. And granted, as I mentioned before, we all have hard weeks and just own it. Say, you know, nope, this was not a week I got much practice in. But, you know, if we can work together, that's great, and I'll get back on track. So they expect that you practice. They expect that you follow the plan that you've both agreed on. You know, this is what we said we were going to do. Is nothing so frustrating for a teacher, as you know. Well, okay, but we had this whole plan outlined for this particular piece, and you just didn't practice that one at all. And you went off and you practiced a new one. Okay. Now, there might be a good reason for it, but, you know, the teacher needs to understand that too. So, you know, that's sort of what. What we would expect. And we also expect you to express your ideas and opinions. Right. I like this piece. I don't like this piece. This is feeling good. This is not feeling good. The strategies you gave me, I tried them. I don't think they worked for me. Could you help me find some new ones? Don't just sit there and wait for the great Oz to speak to you. Be sure that you speak up and let us know what's going on with you. So there are some expectations, but the expectations that we have are important because they feed how we feel about what happens. A lesson so that when we get all this input, how does it make us feel? In an ideal world, the feedback that we get from our teacher doesn't make us feel anything. It just helps us do our harp playing a little bit better. But we're human, which means it's not an ideal world. And the comments that we get may just push our emotional buttons. It's not that this is intentional on the teacher's part. It's just that we have this sort of visceral reaction to something that the teacher says. Some little piece of input that we get all of a sudden lights up all our nerves. And the three kinds of reactions that we might have frame themselves sort of this way that we hear the teacher say something, and immediately it triggers a I'm not. I'm not good enough. I'm not doing enough. I'm not able to do this. One of those I'm not reactions. Or perhaps an I can't reaction. Well, I just can't Sight read. I can't count. I can't play rhythms right. I can't make my thumb do this. I can't play octaves. I can't whatever it is, or I'll never. I'll never get this. I'll never have a good technique. I'll never be a good harpist. I'll never learn these pieces. I'll never. So I'm not, I can't and I'll never. Are reactions to look out for? Because when they come up, they're warning signs. Warning signs that you, you are no longer just learning, you're reacting and you're putting an interpretation, layering a layer of emotional significance onto a piece of advice, a practice strategy, something that your teacher said that most likely didn't have any of that intended. So let those be a warning to you. Those I'm not. I can't, I'll never. Reactions to something that happens in a lesson. What's a little bit more factual and things that you can keep as little mantras, little reminders to help you fight and combat those particular emotional reactions. Statements like this, remember, it's not about you. Whatever the teacher is talking to you about, it's not about you personally. It's about your harp playing at that particular moment. It's not about what you did yesterday or what you usually do. And it's not about you. It's about your heart playing. Remember also that everything is fixable. So that if you're having an I can't reaction, I can't count, I can't do this. I can't just, I can't do any of this, whatever it happens to be, everything is fixable. That's what your lesson is for. It's what your teacher is for, to figure out a fix. Now, that fix may not happen in a single lesson. It may happen over time. It may take some experimentation, but everything is fixable. So don't get yourself in a negative loop that just says, well, I can't do this. And so I'm going to have to give up on something.

I'm going to have to give up on my heart playing. Oh, we don't want to go there. Everything is fixable.

And then the I'll never kind of statement. I'll never be able to do this. I'll never learn this piece. I'll never. Blah, blah, blah. There is no one path to a goal, no single path. There are multiple ways to get there. And if this way doesn't work, I'll. Another way will. So don't hold yourself back. Don't label your own efforts as impossible because they'll never achieve the results that you want. Well, let's find a way to do that. There are plenty of ways to do this. There's no one right way, so it's not about you. Everything is fixable, and there's no one way to get there. Now, in a lesson, I know we all want encouragement. We all want reassurance. We all want to be told we're going the right way, we're doing the right things, but we want to improve, too. That's why we're there. And that requires us to have a more objective attitude toward what we do in a lesson and toward the feedback that we get. When we personalize that feedback, we are holding ourselves back. So remember what we talked about here. The. The input, the interpretation, and the identity. We don't want to get our identity caught up in what is happening in a lesson. The input itself, we're getting information, we're getting correction, we're getting direction, we're getting strategies, we're getting ways to improve. The input itself comes without judgment, comes without any emotion attached to it. And your interpretation, the way you receive that information, needs to be objective as well, not subjective. Your heart playing is not you. You are not your heart playing. It's separate from you. Any critique of your heart playing isn't or shouldn't be directed at you personally. It's just at how your playing could be improved. It's not a judgment, it's an observation.

And of course, this plays into your identity, how you define yourself. Are you going to let your playing on this one lesson day be the definition of you? Of course not. Some days we play better. We have days when everything goes right. Other days our fingers just don't cooperate and won't do what we want, no matter what. We can't take the good days as a given. It's like, okay, I'm always going to play this way. No. And we can't take those bad days as condemnation either. We have those bad days. You know, music learning is not a straight path. It's got ups and downs. And your identity as a harpist needs to allow for that, needs to allow for the good days and the bad days. Days when everything goes right and days when nothing goes right. Your clarity about the difference, about the distinction between your playing and you is key to your resilience and to your ability to resist the urge to internalize an objective observation as criticism. Okay, I'll say that one more time because that was a Long sentence, assuming I can say it again. Your clarity about the distinction between your playing identity you're playing and your own personal identity is key to your resilience and your ability to resist the urge to internalize any input from your teacher as criticism.

All right, so it's input, its interpretation, and its identity. The input itself is totally neutral. You want your interpretation of it to be as neutral as possible and to not let it affect your own perception of yourself. Got it. Okay. I know. Much easier said than done, but hopefully this gives you some guidelines, some ways to think about this now. So how do you prepare for a lesson to help it be a good lesson? We will not define a good lesson as a day when everything goes right. That's a happy lesson for sure. But it may not be the ideal learning opportunity when everything goes right in a lesson, that's terrific, and I'm ready to push the student and have the student achieve more and get to the next level faster. But if that good day is sort of a. An outlier and it doesn't represent their real and most common experience of playing that particular piece, then I'm not. I may be pushing them too far too fast. So remember, we're not expecting that kind of a good day. We don't even necessarily want it. So how to prepare for a good lesson is to play through the. The night before your lesson, earlier that day, whatever, maybe a couple times during the week. Play through what you're going to play in your lesson the way you expect your teacher will ask you to. If your teacher usually says, okay, well, you've been working on this piece, why don't you start at the beginning and let's see where you are then be sure you're spending some of your practice time playing it the way you're going to need to play it in your lesson. That's going to be helpful if you expect that your teacher is going to say, okay, well, just, you know, start. Why don't you start here on page two? Or if you expect that your teacher is going to have you start at random places in the music, prepare for that a little bit. You know, kind of do some practice lessons for yourself so that you're not doing something in your lesson that you haven't really prepared for. Also, be sure to write down any specific questions that you have. I find most adult students are really good about this, that if they don't, you know, if they have a question about the fingering in measure 37, that's going to be on a list that they Bring to the lesson. My job as a teacher is to take that list and not address it all at once at the beginning of the lesson. Just so you know, my own strategy, and this may be your teacher's strategy too, but I'll address those as we get to them because they may not be the biggest concerns. So you know, we'll. And they may end up addressing themselves in a different way in context. So come with those specific questions and then allow your teacher to address them in her own time and in her own way. Prepare yourself for feedback, for neutral input, not either for criticism or for congratulations, you're going to get feedback you aren't necessarily going to get. Yay, that was wonderful. Let me put it on the refrigerator. Kind of the the kinds of comments you would get from a parent, right? You're going to get feedback, you are going to get encouragement or you should, and you are going to get support. You are going to get a little bit of a nudge if you need one. But it's neutral feedback and input, right? That's what you're expecting. Prepare yourself for that. Then what you might do also is look at your music. Choose the part that's been the hardest for you and remind yourself that if it works well in your lesson, great job, you're making progress. If it fails in your lesson, that is the best time for it to fail. That's the best, best time for anything to go wrong. It's like running out of gas just as you pull into the gas station, right? You've got all the help you need to fix the problem right there. That's the perfect time for it to fail. And if you haven't practiced, and I mentioned this a little bit ago, if you haven't practiced, don't cancel your lesson. Give your teacher a heads up and ask for a working lesson. Say, it's been a really bad practice week for me and I want you to know before I get there tomorrow that.

I really haven't had a chance to practice. But if it's okay with you, I'd really like a lesson anyway and we can make it a working lesson. I love having working lessons with my students and I think it's important for this reason. If my student hasn't practiced and they say, you know, it was just a bad week, that's fine because I can pick up where we were and we can work in that lesson to get just to that next step beyond. So that this week when they didn't practice, we'll keep them on track, we can maintain their Growth, maybe even make a little bit of progress, and that's terrific. Now, I can't do that week after week, but I would much rather help a student stay on track. And it's better for them too, because then they don't have any guilt feelings about, okay, well, I have to cancel my lesson because I didn't practice and now I feel bad. So when I go back next time, I better be really good. None of that is helpful. Okay? So don't be afraid to ask for a working lesson.

Little pep talk here. If you have one of those lessons and you're feeling bad, you're feeling angry, frustrated, sad, disappointed, guilty, whatever it is, and. And you come out of that lesson with all those negative feelings, here are some things to do. First of all, remind yourself of what the input was that you got. What did your teacher tell you? What did they say? Then check your interpretation. How are you interpreting it? Are you giving it that nice, neutral interpretation? Do this. That was what she said. Do this. Or are you labeling yourself because of it? She said, do this. I heard. I'm no good at.

Just observe that and be very aware of where the negative feeling is coming from.

Because if there is one of those, I want you to turn those statements around. And the way I generally think of it is you want to turn any I am statement into an I can statement. Because the I am statements are usually the bad ones. The I can is an action thing that you can do. For instance, it was so I was playing the. I couldn't count this, right? I couldn't do anything. I am terrible at rhythms. Well, let's turn that around. I can practice counting this measure. Yes. You know, just because you can't count a particular measure in a particular piece doesn't mean you're terrible at rhythms. So let's unload that sentence.

Another I am statement. I am making the same mistakes over and over again. Well, I can practice this slower so I can focus more. Or I can try saying the names of the left hand notes. Or I can say the name of the pedal as I push it. What can you do? Here's another version of an I am statement. My fingers are just too awkward. They're too old. They're too blah, blah, blah, blah, blah. Well, what can you do? I can practice exercises designed to increase my agility. I can do the scales my teacher wants me to do. Remember, everything is fixable. So start by re looking at the input. Look at your interpretation of that input. Check how you're labeling yourself. Turn any I am statement into an I can statement. And then go play something that you love just for yourself. Go play something that you love because that's why we do this.

Okay, now I need to take one moment out here and remind the teacher of their responsibilities in this whole process. Because the whole blame for a bad lesson is not resting on the student's shoulders. There are a few places where we teachers can be really careful and need to be really careful and mindful of how it may come across to a student. First of all, be sure that in the lesson you work at the student's pace. It's tempting to work at our own pace. We often work ourselves much harder than a student is prepared to work. We'll go over and over and over and over and do it again and again and again and we'll pick ourselves are playing a part more. And when we start working like that with a student, sometimes we work faster or harder than is really appropriate for a given student and student. If that happens, speak out. Let your teacher know, okay, look, I'm done focusing. I can't focus anymore on this. Can we move on to something else? So teachers, be aware of the pace at which you're working the student. Next, always reveal the plan, the big picture and the little picture plan what it is you're doing and why. Students need to know this. Don't keep it to yourself, share it with the student. Students, ask for the why. Ask for choices, ask for options. You get a say in this so that you and your teacher are working on that plan together.

And teachers, lastly, most importantly, never make your comments personal about the harpist. It's not going back to those.

Bad feeling statements for the students. It's not you can't or you aren't or you never. But it's more like, well, what we need to do now or let's see how we can, or what would you think about trying this? Or how about this? And don't let your statements be personal. Just watch your language. As we might say. I mentioned at the beginning of the show that I would talk to you just a little bit about our certified coaching program. And this is the perfect time to do it. So I want to tell you a little bit about how the coaching program is different than just regular online lessons. And there are really three reasons. And you'll see how they fit with our topic for today too get you thinking a little bit. Coaching is a partnership for progress. I mean, you may think that a coach is just for athletes, but harpists need coaches too. You know, a sports coach is down on the field with their players, giving them the skills and support they need to win the game. When the players win, the coach wins. It's a, you know, it's a team effort. Harp coaching is the same only without the the sweat or the yelling. When the coach and the student are both pulling in the same direction, you have a recipe for winning, for sure. Coaching is also about achievement. It's not just about learning.

In our coaching program, we have clear goals and timelines for accomplishing those goals. And that makes it easy for students to see how they're making progress. I designed our coaching program so that the coach and the harpist set their goals and timelines together and then work together to make them happen. And of course, our coaching is for grownups. These aren't the lessons you took as a child. We believe that your life experience is valuable, even vital to your learning. You don't need someone to just give you an assignment. You want someone to show you what you need to do, to tell you how to do it, and most importantly, to tell you why.

Certified coaching is not a one size fits nobody sort of curriculum. Your desires and your goals direct your program. Your coaching is for your personal harp happiness, nobody else's. We actually have a shorthand formula that we use sort of a rallying cry for our coaching program. And it is Compass, Challenge and champion. Our coaches guide you along the way like a compass. They challenge you to take bigger steps and they are your champions, encouraging you when you need some extra motivation. And they are there to celebrate your successes at every stage. So our certified coaching program is open for registration right now. And if this sounds like the kind of learning that you want for the next 90 days, because that's how long our trimester session is, then I encourage you to check it out. Check it out quickly because our coaching registration closes in only seven more days. It's only open until April 22 or when the program fills up, whichever one comes first. So do check it out. The link is right there in your show notes or you'll find it on heartmastery.com Take a look at it. I encourage you to register. This is a great way to learn. So you've learned a lot today about learning and about lessons. And I certainly hope that you have no more bad lessons because that's not what we're about here. So next week on the show, we'll be talking about tempo, about deciphering exactly what kind of tempos to play at, deciding what your tempo should be. Do you stick to the printed tempo, and if not, how do you know how fast something should go? So we'll talk about all the mysteries of tempo here on the show next week. Until then, please 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 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.