Overcoming Left Hand Lag: Reading Ahead With Both Hands - PHH 096

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.

Playing hands together is a topic of constant concern and endless discussion for harpists. When should you start playing hands together? Should you learn a piece hands separately first, how do you begin putting the hands together? And the most frequently asked question why isn't hands together working for me? As much as we might debate the other questions, this last one is the hardest of all to answer. One of the more common problems in playing hands together is one I call the left hand lag. The left hand lag happens when your hands are playing together, sort of. But your left hand seems to be taking too much time to find the strings it needs to play. It's not a left hand issue. Your left hand plays perfectly when it plays by itself. But when you play the hands together, your left hand seems to be behind the beat. It causes hesitations that interrupt the flow of the rhythm and slow everything down. That's the left hand lag.

Now, if that's happened to you, your teacher's first response is likely that you need to read ahead for your left hand. Certainly most of my students have heard that from me, and probably more than once. But is it really a reading ahead issue or should we be looking elsewhere for a solution? Well, at the very least, we need some more practical strategies to offer, ones that provide a way to actually practice gathering the information we need quickly so we can play the right notes at the right time.

Fortunately, we know the place to look for the answer at the root of the problem. There is a coordination issue, our hands aren't working in sync, or our reading isn't coordinated with the hands. Or maybe both. So on this podcast episode, I'm going to share a checklist type approach to finding where the specific issue may lie for you in any, any particular passage, whether it's in the physical coordination or the reading coordination or possibly both. Now, here's a quote which I chose to inspire us as we work through this challenging topic today. It's a quote from Edward Everett Hale, who was an American clergyman born in 1822, died in 1909. And the quote is this. Coming together is a beginning. Keeping together is progress. Working together is success. Now, I don't think he had hands together playing in mind, but I love the quote and I'll read it again for you. Coming together is a beginning. Keeping together is progress. Working together is success. And today we can make at least a beginning with the idea that progress and success and. And fluent hands together playing are not far off. I've been excited to see those of you who are participating in our One Small Step Challenge series in the Harp Mastery Hub. It's been going along really, really well and we are about to start later this week. We will be starting our week four of this challenge, and that fourth step is to find the flow. Now, this goes along with today's podcast really, really well because this is a strategy for making a passage of music smoother. And all the steps to do this are outlined in the challenge. But you'll find that hands together plays an important part in this. So I urge you, if you haven't been participating in the challenge, take. Take a look at that. It's. Remember, these are small steps that you can make to focus on just one crucial thing at a time in your practice. And they show up week by week. And of course, it's in the Heart Mastery Hub, so it's totally free. If you haven't joined our hub yet, it is our free online community and I've sometimes described it as Facebook without the Facebook. It's a community and it's conversation, but. But it's not social media. Um, we are social for sure, but it's all harp stuff. And it's our platform. We own it, we control it. So there's no advertising, there's no, you know, trolling for information. It's just harp talk. And we have challenges, we have meetups, we have all kinds of stuff going on, all kinds of discussion happening in the hub. And I encourage you to join us, particularly because the challenge we have going this month is so closely related to the kinds of things we've been talking about on the podcast all month. We've been focusing on skills development in the podcast and we've been doing a similar sort of Thing in small, easy bite size steps in the challenge in the hub. So if you haven't joined us yet, please, please use the link in the show notes and hop on over. Sign up for the hub. It's easy, it's quick, and you'll be in there and you can start working away on the challenge. Pretty simple to do. So just, you know, hop on over and join us there.

Now let's start talking about the left hand leg and how we're going to find out exactly what our hands together issue is and how we can solve it. If your teacher has ever told you that you need to read ahead to make sure you get your hands to the right strings on time, raise your hand. Now, all my students have their hands up and I have my hand up because my teacher certainly told me that. But that's where things are a challenge, right? Because how do we read ahead? We have so many things that we're trying to do. Well, I want to break that down today in a way that will show you exactly where the steps are. It may not be a matter of reading, but we're going to find out what it is, and I'm going to give you the tools you need to fix it. So when we talk about music reading, sometimes we talk about it in terms of sight reading. And sight reading and smooth, fluid music reading are related skills, but they're not quite the same. When we're thinking about sight reading, we're thinking about never having seen a piece of music before or sitting down to it for the first time and trying to read through it. That's one thing. But smooth reading coordination in a piece that we're working on is just a little bit different because we're tracking things with more attention to detail. Right? When we're working on a piece, we're paying attention to fingering and dynamics and all those things that we may not focus quite so much on when we're working at sight reading something and just getting through it. So we're paying attention to a lot more, we might be paying attention to technical things. There are lots of things that we might need to be paying attention to as we're reading a piece of music or a passage that we're practicing. So there's the first thing to consider.

Secondly, I want to remind you what I tell my students often. Hands together playing is not just hands separately playing times two. Your right hand may work fine on its own, your left hand may work fine on its own, but hands together playing is different in part because the physical coordination is more Complicated, but also because the reading coordination is different. We have to track two different lines of things. And you know, the one thing that our brain doesn't do well at a conscious level is multitask. We talk about multitasking often, right? But generally it has been shown that what we often think of as multitasking, you know, doing two things at once, right? Like writing something down while we're listening to something else and paying attention to this and doing that and, you know, walking and chewing gum, I don't know. But, but much of what we think of as multitasking is really sequential tasking where we're paying a tiny chunk of attention to this, then a tiny chunk of attention to that, and alternating between those things. Our conscious brain does not do two things at once very well.

No, I'm not going to tell you, have no fear that you need to just have everything sublimated to some sort of automatic unconscious level or something. That's not what we're talking about. But I just wanted you to recognize and acknowledge that this hands together coordination is pretty involved. And so that you just can't expect that your right hand is going to do what your right hand always does and your left hand does what your left hand always does. And that you're going to be able to pay attention to, to each of those hands when you're playing them together in the same way that you're able to pay attention to them when you're playing one at a time. I hope that that made sense to you, but the idea is that hands together is just different. So where hands separately may work, hands together may not. So let's start. I told you I would give you kind of a checklist style approach to this idea. And that's where we're going to start. We're going to start at the very most basic level and make sure that we don't have an issue there. So if you have a passage that you're having trouble putting hands together, or if this is an all the time issue for you, you might find some solutions in here as well. But if you have a particular passage that you are having a challenge with, let's look at all these different things in turn and see where the issues might be, see where you don't have issues, see which boxes we can say, nope, got this one. I need to look elsewhere for the solution. So are you ready? Okay, here we go. The very first place we're going to check is actual reading. So if you're having trouble, you feel like you're Reading slowly. We need to check your actual note reading. Are you making any instant and automatic connections between the dot on the page and the string on the harp? I know that's really basic, but it's not a bad place to start. You may be a person who in a former life was a treble clef player, you know, a flutist, a violinist, something like that. Right. And so your treble clef reading is super. And you have no problem picking out the notes on the staff and making sure that you know what they are and you know exactly what string goes with what line or space on the staff. And that's terrific. Are you as fluent with bass clef? And of course, if you're a bass clef instrument dweller in a previous life, maybe you have that same kind of an issue, but in reverse with treble clef. So you need to check and make sure that both hands know their notes.

If your general note reading skills are slow, this is a place where you could speed up your note reading. And how will you know? Well, you'll probably know if one clef is a lot slower for you than the other. If you're still learning bass clef, for instance, and learning your left hand lines and needing to figure out, oh, yeah, okay, that's, that's not a D there below the staff, that's an F. Right? Right. So if you have.

Slow note reading in one of those clefs, the quick and easy way to fix that is to practice your clef reading. And what I would do is just pull out any piece of music and let's imagine that it's bass clef that needs some work for you. Put the metronome on to a steady click and then disregard the rhythm in the piece. Just read each other left hand note. And if you've got chords in the left hand note of the passage you pick, just read the bottom note or the top note or one of them, but choose which one and read those notes. Matching note for click. It's important to keep this even. That's why I had you put the metronome on so that your metronome might be tapping away. And you're going to say, okay, that's F. A, G, B, C, B, A, D, F. Just to practice reading the notes and doing them with the metronome will help develop the coordination so that you're not just sort of stutter reading, but you're practicing reading them evenly. I'm sure you see how this can play into reading ahead in terms of actual playing of either one Hand or hands together. Right. So that kind of basic clef reading is a place to start. If that's not a problem for you with either clef, then you get to check these boxes and we go on. And you may be able to sort of check those boxes and say, well, okay, I don't think that's really my problem, but, you know, maybe I want to go back and do a little bit of review on clef reading for one clef or the other, and that may help. And you can certainly do that too. We don't have to stop there. But if you need more practice in this particular skill, it's a great place to start because it's always going to slow you down until you get more fluent at it. Okay, so we've checked your actual reading. We get to move on. Let's look at the hands to hands separately. Not the hands together yet, but the hands separately. We need to work at your one hand reading. So think about if you have sort of a good hand and a bad hand. You know, the hand that's. That you prefer, maybe your right hand, you feel is more fluent and a little bit faster. And your left hand struggles a little bit more with reading something fast. And that's, you know, that may be your experience. Maybe your hands are reversed. That's okay. But let's talk about your stronger hand. Okay. And we're going to work at reading ahead with that stronger hand. For me, it probably would be my right hand, although both of my hands are pretty, pretty good at this. So. But we'll just say right hand just so that we can do that. So you're going to take your right hand and we want to practice our reading skills just with the right hand. So what are the reading skills we want to practice? We want the reading to be steady and consistent with an even beat and. And no stumbles. Ooh, there's something, right? So totally aside from the piece of music or the passage that you're working on, let's take a bunch of notes. You could use those notes, but let's take the rhythm away. Right? So we don't have a rhythm complication right now. And let's make sure that your fingers can get to those notes and at an even speed. I might use an exercise. I might use just a melody from a song, maybe a passage from a hymn. Something that's very, very easy and simple and straightforward is good for this. Put the metronome on once again because it's that steadiness that's important.

And you can try to just reading the notes first, just to check and just say those names of those notes like F, C, E, C, D, A, G, A, C, B, D. You can just do that and then go back and have your right hand play them at that same steady beat. The metronome's so important here because we don't want there to be any slip up. But let's just make sure that that's working. And if it works sort of in general with any kind of notes, let's take the passage you're working on and let's do your right hand exactly that way and make sure that it's got everything working. Hands separately. Now, I know this is the kind of practice that you're used to doing hands separately. Practice. We're going to get it even with the metronome. We're going to get it steady and we're going to get it correct. That's perfect. And let's do that with your stronger hand. Then let's do it with your weaker hand. Be sure you know the names of the notes. And if you're not sure that you know the names of those, say left hand notes in bass clef. If you're not sure you know the names of those notes, then say them before you play them. Say them at an even rhythm without the complication of the rhythm in your piece first. Then say them with the rhythm that you're going to need to play. Right? I mean, you might want to say them all steady to start with, you know, like F, C, E, C, A D, C. But then maybe you'll put the correct rhythm with them, right? Like F, C, E, C, D A, D, whatever the rhythm is, right? And then go ahead and play them and say them at the same time. That's going to help you be sure that you really know those notes. So that's kind of a muscle bound version of hands separately learning. So we've checked your reading and we've checked your reading skills in kind of a general way. That was the first box we checked. Now we've checked your stronger hand skills and made sure that when it comes to that particular passage you're working on, that isn't giving you a problem. And we've checked your weaker hand and made sure that you know all those notes, not that you can just play those notes, but that you actually know what they are. That's where the say and play thing is so valuable. Okay, we've checked your hands together. Skills, Strong hand, weaker hand. Two more boxes to check, but we have one more big box to check in the hands separately column before we get to hands together.

We'Re going to make sure that your note reading and your reading ahead skills are nicely developed for each hand by having your left hand play the right hand line and then having your right hand play the left hand line. Oh, I know that's a hard one. And it may not work for every passage. You may, you know, it's like, well, my left hand's really low and my right hand can't reach it. Well, can you move it up an octave or two if you need to, but have your hands play the other part. Now, this has a lot of benefit. First of all, it's going to help you practice your note reading without necessarily associating it with a particular hand. If you've ever run across a passage in a piece where your left hand has to play treble clef all of a sudden, or maybe even your right hand has to play bass clef, and they just get all confused because your right hand's only used to reading treble clef notes. This will help with that. And this is a great way to practice it. It's going to help you practice your note reading in general. Sort of free your hands from the idea that they only play that one clef, because in real heart music they don't. And it's going to just make sure that you've got some extra practice at notes in that passage you're trying to learn. Now, how does this help you practice reading ahead? Well, because you're going to put that metronome on to whatever speed you want. I'm not talking about making you play this fast, but the metronome helps you coordinate your reading. It gives you enough time to to see what's coming next and to get your fingers on the right string. It also helps just give you that nudge to get there on time instead of thinking about what the note is and taking too much time before you play it. So it's going to help eliminate the hesitations in your reading. It's going to force you to read ahead. And of course, reading ahead is easier to do one hand at a time. Right? So this is a great way to practice that so you can see how this is really beefing up your hands separately work. It's asking a lot more of each hand than you perhaps do in your regular hands separately work. But it's going to pay off as we get to hands together work. And that's where we're going. Now, the first thing I'm going to offer you is a way to practice your actual reading skills. This is the kind of thing that's really tough to practice when you're working on a particular passage because you're trying to put so many things together, right? The notes, the rhythm, the fingers, the petals, whatever it happens to be. So that's very complex, and it's hard when your teacher just says, well, remember to read ahead for your left hand. It's like, well, yeah, but I'm doing all this other stuff. How do I do that? So I want to give you the method that I find most effective and simplest for just practicing hands together, reading skill without having to worry about all the playing stuff that goes with it. And for this, you're going to need. I like to use a hymn book, but you could use a simple etude or a beginner piano book. What we're looking for is something like a hymn where both hands have the same rhythm. So this is where we want something that's pretty simple, pretty easy. You're not looking for a complex Bach harmonization of a hymn. I mean, it's beautiful, but it's not what we're looking for. We're looking for something with just straight up and down, symmetric, simple chords. Once again, I like hymn books because they usually don't have more than two notes in each hand. And so something very, very simple. A beginner piano book might only be one note for each hand, and that's great. But we're really looking for both hands having exactly the same note value, so that left hand and right hand are playing exactly the same rhythm. We're not interested in any kind of tricky rhythm. We're not interested in working in any kind of tempo. But what you're going to do is take this hymn and or etude or beginner piano piece, whatever it is, and you're going to put your metronome on to a speed that's comfortable and that's for you, right? And it's going to depend on the kind of piece you've chosen and all that good stuff. But I want you to have that metronome at that steady tempo and then play through that hymn or through a line of it or whatever.

Playing your left hand on the first click and your right hand on the second click. So instead of playing that first chord, left hand and right hand together, you're going to play left and then right on subsequent clicks. And you're going to do that for every chord in the passage. So it's going to work something like this. So let's say you Have a series of chords that goes like this.

What we're going to do for this drill is we're going to put that metronome on. Here's my imaginary metronome just snapping my fingers, and we're going to play through that same series of chords. But left, right, left, right. So left, right, left, right, left, right, left, right, left, right, left, right, left, right. Now, this will give you the opportunity to direct your eyes. You're going to be looking left hand, then right hand, left hand, then right hand. And you're looking on purpose. That's where the reading part of this drill comes in. Then after you've done that, you're going to keep that same metronome speed, but we're going to play the chords again, but this time starting with your right hand so you're directing your eyes the other direction. Right. So you'll play right, left, right, left, right, left, right, left, right, left, right, left, right, left.

And so now you can see the sort of piece you need to choose for this. Right. And it doesn't have to be long. But practicing it this way with the metronome, remember is going to help you learn that reading coordination and how to direct your eyes. It's a great way to practice it. And I'm sure that that is a tool that you haven't tried yet. So give that one a shot. And that's our next box to check because it's helping you actually practice your reading. Practice where to look, and practice doing it in a prescribed amount of time, which is how we get our music to be steady. Okay, now we're going to talk about actual ways to practice hands together in that passage that you're trying to put hands together. And I have three ways I'm going to share with you today. There are more, but I love these three, and so I'm going to share them with you now. And so these are the next three things that you can try to get. Get that particular passage hands together. Are you ready? Okay. Now, all three of these practice ideas involve reading and playing, of course, but perhaps in a slightly different way than you've tried before. The first one is a four step process. Read, visualize, airplay, and play. So I want you to take that passage that you're trying to put hands together and just look at a measure or two of it.

Maybe just one measure is all we need for right now. It's a great way to actually start working on this drill. Just to choose a single measure. Read through that measure. Just read it. Look at all the notes and hear, as you read through it, hear how it's going to go in your head.

Then read through that measure again and visualize what your hands are going to do to get to those strings.

So that this time when you're reading through the music, you're not just looking at notes and imagining what they might sound like, but you're also imagining where your fingers are going to go. Then in step three, we're going to take that one degree closer to the strings, and I want you to airplay it while you read it. This, you know, it's like playing the air harp. So you're not, you know, going to touch any air, any strings. You're not even going to have the harp back on your shoulder. You're just going to have this imaginary harp in front of you, and you're going to move your fingers approximately where they might be and approximately the shapes they might be assuming if they were to actually play those notes. You don't have to be too precise about this, just sort of that general motion. It's very helpful if. If you hear the measure in your head or if you even have the metronome on at the speed that you think you want to practice this passage. You know, put that metronome on so that you can sort of get a real sense of where and how your fingers are going to move. Then after you've airplayed that measure, turn to your harp and actually play it with the metronome.

So you've started by reading it, visualizing what it's going to feel like airplaying it, and then finally playing it. This is a way to step into hands together without just sort of forcing the issue. It's terrific for any kind of passage. It's terrific, especially for a problem spot or for starting to put something hands together.

And it's going to help you work at the coordination. Once again, the metronome's been a key part of this, right? Because our music has to happen in a certain amount of time and over that particular amount of time. So that's why the metronome is so critical. So that's the first practice technique. Read, visualize, airplay and play.

Okay, but now you've done some hands together playing here, and maybe that one's no trouble for you at all because it breaks it down enough that it's not a problem. Well, let's move on to the next hands together practice technique. I call this one switcheroo. And this is one that's great for a passage of maybe four measures or maybe even longer. Where the hands together is just not quite coming. And you want to make sure that your reading and your coordination is coming along. This is actually you're going to be playing, but it's actually even more of a reading drill than a playing drill. Okay, so here's switcheroo. You're going to take that passage. Once again, I think the metronome is essential here. But you can try it without the metronome first and then see what you do. Remember, the metronome is what's gonna help you coordinate everything and line it up. It's not to make you go fast or it's not to make your life harder. You can slow down the tempo if you need to. It's just to help you coordinate processes in this kind of a situation. So for switcheroo, you've got the passage you're gonna work on and play through the passage. But each measure, switch which hand you're playing. So measure one, you're going to play the left hand. Measure two, play the right hand. Measure three, play the left hand. Measure four, play the right hand and play through the passage without stopping between the hands. So it's going to be continuous. But once again, we're being very purposeful with this technique about where we put our eyes. Where we're looking, we're looking at left hand. Now we're looking at right hand. Now we're looking at left hand. Now we're looking at right, right hand. And our eyes are having to switch clefts and look far enough ahead that we can prepare our other hand.

So physically, it's easier than playing hands together. Reading wise, it's actually a little bit more challenging. And that's where it will help develop your reading skill. Because in order to get to that next measure, you have to be looking ahead to get your hand ready. Now you see, going back to our original starting point here of left hand lag, you can see how this is going to help, right? It's going to help get you reading ahead in a very intentional way. Okay, so there's switcheroo. And of course, once you've done, you know, left hand, right hand, left hand, right hand. For those four measures, you're going to go back and you'll start with the right hand this time and do them. Right hand in the first measure, left hand in the second measure, right hand in the third, left hand in the fourth. And there's the switcheroo technique. I know you're saying, but I'm still playing hands separately. I'm not playing both hands. Together. I know we're stepping into this. We're working at the coordination without struggling through both hands together.

You can use these techniques alongside of your regular hands together practice, and it'll make it even better. But here's the third technique. This is perhaps the most beneficial one, but most people find it extremely challenging, at least at first.

But I'll tell you why it's so incredibly helpful.

When we're playing hands together.

We'Re trying to do a lot of things at once. And the big, huge difference between hands together and hands separately is that you, your eyes have to be tracking both of those lines, right? Paying attention to both the right hand line and the left hand line. And that's where the reading issue comes in. And as you've seen, that may not actually be a problem reading the notes, just a timing coordination kind of issue.

So we're going to do the. The drill that I call the missing link drill. This is the best in between hands separately and hands together drill. I know the switcheroo was kind of like that, but this is even more so. And this missing link drill. In this drill, you're going to play one hand and you're going to sing or say the notes of the other hand so that while your left hand is playing its beautiful little line, you need to say the notes or at least sing the melody of the right hand line. Now, singing the melody of your right hand while you're playing the left hand is not the most challenging of these combinations. And if singing the right hand and playing the left hand is pretty easy for you, then I would say step up that coordination by making yourself say the names of the right hand notes. You know, a, B, C, B, D, E, F, G, D, whatever the notes are while you're playing your left hand.

It's not easy. I know it's quite challenging, but this is how you're learning to pay attention to one thing while you're doing something else.

Now, after you've played the left hand and said the notes in the right hand, you knew this was coming, right? You're going to have to do it the other way. Play the right hand and say or sing or both if you like the left hand notes. If either of your hands has chords, then choose whether you're going to say the top note or the bottom note of the chord. And it doesn't matter. For the purpose of this kind of drill. It doesn't. It doesn't really matter. Just pick one.

You will probably. If you've never done this before, you'll probably find this drill is difficult enough that you don't. You can't maybe keep a steady tempo with it at first, but your goal is to be able to stick to a steady tempo while you do this. And once again, the metronome is going to be your friend here. You don't have to go fast. You just have to keep it steady because you're developing coordination, and coordination happens in time. So you will need to use the metronome eventually. But that missing link play one, say one drill is going to change everything for you in your hands together practice. I promise. So, quick review of our checklist. You're going to check that your note reading is in place. Then we've got our beefed up hands separately strategies that include working on the notes out of rhythm and then the notes in rhythm with each hand, making sure that you're working with the metronome and that your. Your one hand reading is secure. Then we'll go back to the hands together strategies. First, practicing simple hands together reading. I know that the hands aren't exactly playing together, but this is where we took the hymn book and you were playing left, right, left, right or right, left, right, left. Granted, the hands aren't playing together, but this is practicing reading both clefs in an organized way. And then finally we talked about those hands together practice techniques. The first one, read, Visualize, Airplay and play. Then we did the switcheroo where you're reading first one hand, then the other alternating by measures, and then finally the play one, say one, where you're playing one hand and saying the notes of the other hand at the same time.

Those strategies all together should solve just about every hands together reading issue that you have. And it certainly should solve that left hand lag. You'll be able to read ahead for what you need. Yeah, the left hand lag might still happen, but you'll have the tools you need to fix it in any particular instance.

Phew. Okay. Well, that was a lot to cover today, and I hope you find it helpful. These strategies are challenging because they're different and they're unusual, but that's why they're so effective, because they're making you work at skills that we don't often develop so intentionally and so purposefully. So I urge you to sort of step up to the challenge and see how they work for you. Speaking of challenges, I'm going to give you a quick reminder to join us for the Hub challenge, where we're working on one small step at a time. And unlike today, where we took A big step, huh? So join us for the Hub Challenge. You'll find the link, of course, in today's show notes, or you can get to the hub from harpmastery.com you'll be able to find it there next week. Here on the podcast, we're talking about everyone's favorite topic. Or maybe not. We're talking about counting aloud and why you need to count aloud even if you hate it. And don't worry, I understand you may not like it or see the value of it, but I hope by the end of next week's podcast I will have at least convinced you that there is value in it and that it's something you should consider and start using in your practice daily. So I do it and.

It makes a huge difference for me, so I'm absolutely positive it will do the same for you. So that's next week on the podcast. In the meantime, 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.