Placing Chords: How to Find the Right Strings the First Time - PHH 205

Well, I think it's important because this is where those finger shapes and finger sandwiches let us down. They don't give us enough information. When we know where our fingers need to go, then we're likely to get there.

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.

First, I want to let you in on something special. I think the most important thing you can do for your harp playing is to develop the habits that lead to success. Whatever that looks like for you. All of us want to learn how to play the harp beautifully, how to play with confidence and enjoy making music. And if you really want to learn those things, videos are great. But live learning is is essential. You need to be able to ask questions and get answers. You can't do that with just a video, which is what makes the My Harp Mastery community so special. My Harp Mastery membership is for those who really want an online experience that lets them learn at their own pace and learn what they want and be able to learn live from expert coaches every single week. Plus, you get to connect with other harpists in the community who have the same desires for their playing. This is not only a powerful learning platform, but it's also the most generous community of harpists anywhere on the planet. They're harpists with a positive outlook, a growth mindset and a spirit of support for their fellow harpists on the journey with them. We're ready for you. Join Us just go to harpmastery.com/join-now that's harpmastery.com join now. Welcome to the show. The great Zig Ziglar, a much beloved author and motivational speaker, never played the harp as Far as I know. But one of his most often quoted remarks is perfect for today's topic. Zig said, you hit what you aim at, and if you aim at nothing, you will hit it every time. Now, if you've ever had difficulty placing the notes in your chords, today I'm going to teach you how to fix your aim. Of course, there is more to placing and playing chords than just aiming at the strings. But you do have to get to the right ones. This is what makes three note chords more difficult than two note intervals. And what makes four four note chords even more challenging. And then there are those four note chords in both hands at the same time. The more fingers you have to put on the strings, the more possibility there is for error, which is why we're going to take our time today and really explore what you need to know as well as what you need to do to increase your chances for success. Now, naturally, none of us gets every note right every time, but when we can read the notes faster and place our fingers more automatically, even the biggest chords are less daunting. By the way, the techniques we will be talking about work for placing arpeggios too. So it's a double win today. There are a couple of important things to let you know about before we get started, and the first thing is coming up very quickly. It's coming up on May 5th, we will be hosting the Sharpen your Focus, Elevate youe Performance clinic with my special guest presenter, Dr. Lucy Smith. Now, this is all about how to focus what focus is about. If you've ever worried about losing your place when you're playing for somebody, maybe even just playing in your lesson, or if you're tired of having your mind wander when you practice, and if you don't know how to practice these focus skills, you're going to get so much out of this clinic. Now, this is included in your membership if you're a My Heart Mastery member, but if you are not, I encourage you to take advantage of this special opportunity. Dr. Smith is an expert, not only expert musician, she's a professional French horn player in the uk, but she is also quickly becoming an expert in music psychology. Now she's studying, believe it or not, sports psychology. This is what she is already degreed in and she's pursuing more research as we go along. But the field of sports psychology is so well researched and has so much behind it and of course, so much of that performance training applies to musicians as well. So she's coming to speak with us and to give us her unique perspective on how to focus. You're going to get so much from this. As I said, it's a 60 minute clinic and if you register for the workshop, you are going to be invited to a special bonus masterclass the last Monday of the month. Dr. Smith and I will be working with a few participants to help them through their specific focus issues and the challenges that they are facing. And you will be invited to attend that master class as well. So there's a lot to this and I really don't want you to miss this opportunity. I talk about focus all the time and I'm pretty good at teaching it. But, but I don't have the kind of expertise that you're going to be able to tap into on this clinic. So you will find the link to register for the clinic in the app on the homepage of heartmastery.com under upcoming events. And of course I've put it in the show notes for you as well. So do not miss this opportunity. I'm really excited about it. The clinic will be recorded so if something happens and you can't watch the Clinic live on May 5, you will be able to watch the replay and have access to that. So I, I just don't want you to miss this. Speaking of other opportunities not to miss, remember we have opened our coaching program and our offering. We have a limited number actually of openings for you to have lessons with one of our certified coaches. So you can always take advantage of this. But I want you to be sure that you don't miss an opportunity you'd like to take advantage of and get in on our coaches schedules while they still have room to find out more about the program and figure out how to register. You can. Not that it takes much figuring out, it's a click of a button. But you can go to our homepage heartmastery. Com. Go to our programs and look at coaching. If you've never been part of our coaching program before, I suggest that you start with the little questionnaire there. You'll find a button there that takes you, if you're new to the program, takes you to a six question questionnaire that will just help us figure out how to help you better and we'll help you focus a little bit on what exactly you want to get out of your coaching. So that's really important too. So I've got those two powerful ways for you to take your heart playing to that next level coming up quickly. So check those out. The focus clinic on May 5th and our coaching program and I Think it might be time to get back to talking about aiming for those strings when you're placing your chords. Consider this scenario though. First you're planning a trip. Think of all the things that go into planning a trip and they probably come into really three big categories. Where you're going to go, how you're going to get there, and why you're going there in the first place. My husband is a great trip planner. He will look at all the different places that we might want to go and he'll do, okay, we'll spend this day here and we'll see this and we'll get there this way. Go to the next city, we'll do this. So he takes care of sort of working out all those details. He loves doing that kind of thing. And those are the things that we have to consider, right? Where are we going to go, how are we going to get there? And why are we going there in the first place? What are we going to do when we get there? Believe it or not, placing chords has the same three part system. It's about geography, it's about mechanics, and it's about understanding. It's about where we're going to go with our hand, right? Which strings are we going to place. It's about the mechanics, how are we going to get there efficiently, right? So that we're not fumbling for the strings, we're not putting the wrong fingers on the wrong ones and having to correct them. And it's about understanding, knowing why we're going there in the first place, knowing something about what those notes are. And if you don't have all three of those pieces in place, then you're not really going to be able to place your chords. Well, now notice that this doesn't have anything to do with playing them. That's a completely separate topic. We just want to get you to the right strings the first time. So that's what we're talking about today. And to help you through that, I've got a system. Naturally, I have a system. And it just worked out so that it's the A okay system. So your.

Your placing is going to be A. Okay. When we're done with this, we're going to be talking about aiming, we're going to be talking about opening, and we're going to be talking about knowing. So those are the three areas we're going to be talking about. We'll talk about what exactly those things mean, how you can practice them, and why don't we get started by talking about how to aim when we're talking about aiming for those notes in a chord, the first thing we always would think of is that we need to look at where we're going. And this is true. You want to understand what the notes are on the page and then get your hand to the strings that you're going to need to play. This is really critical, obviously. So don't just think that you can look at the music and then not play the strings or think that you can just aim for strings and not understand what notes they are. Right. But the first thing is just look where you want to go. I know it sounds basic, but it's amazing that how when you get intentional about putting your focus, your actual visual eye focus on where you want to go, it's going to be that much easier to get there. Now, I understand that you have a lot of notes, you have another hand to consider. There's all kinds of stuff going on that makes looking hard. But we're going to talk about perfecting your aim here in just a moment. But there's a second component, and this goes back to the geography thing that I was talking about just a minute ago. When you can think about the harp as this big geographical place, you might need to be low on the harp, then high on the harp, and you're going to be moving your hand around. Remember to use your arm. Your arm is this big, beautiful hinge and it's going to be able to get you up and down the strings all over the harp. You just need to let it move. So don't feel like your arms are sort of glued to your side or glued to the harp. Lift them just a little. This is not an elbows up thing. It's just get your elbows away from your side, away from feeling like you're glued to the harp. And then extend them when you need to reach and then bring them back when you don't. The freedom that your arm motion gives you is really going to help you get around the harp and help you place those cords better. If you doubt the truth of this, try just having your arm in one place and trying to just move your hand from one set of strings to another, maybe an octave apart. It's not nearly as easy. Your arm will bring you freedom. Your arm movement allows you to be relaxed. It allows you to be more comfortable. So go ahead and let it move. This will also allow you to center your hand over the strings that you need to play for the chord. I know it might seem funny to think about placing a chord and aiming a chord as an arm motion instead of just a hand motion. But believe me, it's really important.

Here's a quick drill that you can do to help you sort of experience the arm motion and the aiming with your eyes concept. Take one note, for instance, maybe a C, and take your thumb. I'm going to start with my right thumb and then just play all the Cs that you can reach on your harp with your thumb, just your thumb, and think about.

Where that needs to be. Playing all those C's up and down, maybe low ones, and then high ones all over the harp. Just lightly with your thumb. The reason I'm asking you to use your thumb first is because we really need to move. Our thumbs don't stretch very well, right? Our thumbs are pretty connected to the string they play. So by doing just your thumb, you're really going to get the sense of arm motion. Do it with both hands, so get your left thumb involved too, and have it do its thing. But you'll feel how your arm helps you center your hand. And in fact, you can do this drill with every finger, right? Do it with your second finger, do it with your third finger, do it with your fourth finger, and feel how your arm motion is going to really get you the. To the place where you need to be. Then try it with two notes, little intervals, maybe second finger on C, thumb on E, and do the same thing. It should feel a little bit like a bouncing ball. And this is a drill you can do with a metronome as well. To make sure that you're getting to the right place at the right time. Look at your arm motion as you do this. It should be relaxed and it should be smooth and. And if you think about that bouncing ball idea, you'll get exactly what I mean. You want it to. To just have that beautiful arc in the air. A small one, not a big one, but one that gets you where you need to go just when you need to be there. And as you're doing this, remember to look not at the notes that you're. That you're playing, but at the notes that you're going to. That's where the aiming with your eyes thing comes into this. You're going to look at where you want to go ahead of where you want to be there. Right? Don't bother looking at what you've just played or where your fingers are on the strings. Right now we want to look at where they want to go next. And practicing a drill like this with the metronome can be really helpful. I Know, this seems really basic, and I know it seems like, well, okay, I've already done that. But starting with these basic principles of aiming, keeping your arm fluid, and looking at the strings you intend to get to ahead of when you're going to need to place them are very, very important for your success in placing chords. So that's the component of aiming. The second part in our A okay, framework is open. This is about opening your hand, right? In aiming, it's all about the geography. It's about getting to where the correct strings are. It's not specifically about those correct strings as much as it is getting to the right place. But in open, we're talking about the actual mechanics of how we get the right fingers on the right strings. And the key, believe it or not, is in opening your hand. This is where the shape of the chord comes into play. Think about what happens with your hand for a second and you'll understand what I mean. When we play the harp, when we play a chord, we close our fingers, or at least we're supposed to, and then we lift away from the strings. Maybe we have a downward motion, you know, the motion after is always a question for a specific method. So I raise. I was taught Salzato method, and that's what I do. But, you know, when it comes to the after motion, the follow through, you do you, right? So I've closed my fingers, which we all agree you should do, and then moved my hand away from the strings, which helps project the sound. So I'm going to call that a lift. So we lift our hand. As we lift, we relax our hand. We're not keeping our fingers tightly gripped, we're relaxing our hand somewhat so that as we lower our hand back, back to the strings for the next thing we're going to play, we open our hand and we get ready to replace. And it's not a replacing that happens. When we get to the strings, we don't suddenly open our hand and then hope we're at the right strings, but we gradually open our hand through the entire motion of coming back to the strings. So when you think about it in slow motion, right, we close, we lift, we relax, we start to lower, we open. It's a beautiful seamless motion, and it's great to practice it that way. And if you've never thought about it that way, practicing it, you know, just away from the harp and thinking about, okay, I'm closing. As I lift, I relax. Then as I come back to the strings, I open. It's a wonderful, Just sort of diagnostic for what it is you're really doing. But here's the thing. When it comes to chords, as we open our hand, we're opening our hand to the approximate shape of what we're going to play. So we've played whatever we've played and we've maybe we've played a chord, we've lifted our hand, we're coming back to the strings for the next chord. Our hand is going to open to about the correct shape. Now that's it. You could compare it to an airplane coming in for a landing and they're lowering the landing gear, right? They don't do it at the last second. It's a gradual thing and I know it makes noise depending on where you're sitting in the plane, right? But what's happening here is we are lowering our landing gear and we want them to be in the right position. So it comes down to spacing. So if you have been playing the harp for any length of time, you know more about your hand spacing than you might think. For instance, if you're away from the harp and I said, okay, pick up your right hand, thumb and fourth finger and show me what the space of an octave is. You probably could do it away from the harp and then take it back to the harp and boom, there it is, an octave, exactly what you were expecting. You're probably pretty close. Do it with your other hand too, just to check. But. But this is part of what practice does for us. It teaches us where the strings are. We learn a little bit about where our hands are in space. So what you might want to try is say, okay, well let me take a three note triad like A, C, E, G, and I'm going to put my fingers on those strings and then I'm going to take my hand away, close my fingers, I'm going to open them again and see if I can hit the same space. So think about the motion I described, right? You've got your fingers on the strings, then you're going to take your hand away, lift, close your fingers. I didn't play them, but you could, right? So just close those fingers, lift, then on the way down, open them and see if you can land with those fingers on the right strings. And this is not just an interesting drill to try. This is a really good way to practice a chord passage. You don't even have to play. Just look at the chord, keep your hand away from the strings, right? Look at the chord, open your hand to the spacing you think it has and lower it now, if you've aimed properly with your arm, you should be in about the right space, right? And you're aiming with your eyes. And you're just going to practice that. Now, I often call this dive bomb placing because your hands are going to just dive into the strings. But I really like the landing gear analogy a little bit better because it sounds more relaxed. Dive bomb sounds kind of panicky. So I really like thinking about the landing gear a little bit better. But to take any chord, any shape, whatever you like, feel it on the strings first, then take your hand away and see if you can aim and come back to it. Try it without looking, you know, put your fingers on the strings, take them away, close your eyes and see if you can come back to it. How close are you? Was your finger spacing off? Was your arm spacing off? Don't struggle for perfection there. That's just sort of an interesting part of the exercise. But, but doing it with your eyes open and going through a chord passage that way can really help you perfect where you're going. Remember, we're thinking here about the mechanics of getting the right fingers on the right strings the first time. So that's what you want to think about. It's all about how you're going to get where you need to go. Your arm has gotten you there, you're aiming properly, but you're fingers have to do that next landing gear step. Now, it's worth talking about the problem that can happen, that little slip up, and that is this. You could still miss, right? This question sort of came up.

In a recent Live Monday warm up when somebody said, well, you know, what do I aim for when I'm aiming? Do I aim for the bottom note, the top note, or do I just rely on the finger shapes? And I'd like to take a minute to answer that question. I think that sometimes we want to aim for the bottom note, sometimes we want to aim for the top note, sometimes we want to aim for the middle notes. So I don't always choose one of them. I think that that depends on context. But I want to talk about the finger shapes. I know we spend a lot of time talking about finger sandwiches, sometimes finger shapes, looking at, okay, well, in this particular chord, maybe I've got some notes that aren't in the usual spacing. Like, you know, that's not a standard old triad. Right now I'm playing D, F, G and C. It's an unusual shape. And so when I look at it on the page, I can see where the, the notes that are right next to each other are, and that can help me line up my fingers. And so looking at those shapes can be really help. Helpful. But I don't believe those shapes are enough information. It's great to help you sort of get that essential, you know, open your hand to the right shape kind of idea. And using the drills that I was talking about just a moment ago, where you put your finger on the strings, you take your hand away, you practice opening it and lowering it, right? And you can practice an entire chord passage that way. That's very helpful. But the whole finger sandwich idea, I think, falls short in a specific and very important way. It just doesn't give us enough information. We could take that finger shape and we could put it anywhere on the harp. I know that sounds like freedom, right? But when you don't know the actual note names or the chord, you know, that's not information you get from finger shape. And it doesn't. The finger shape alone doesn't provide you enough security in your learning, in your practice, in your memorization, for sure. And that's where the third step in our system is going to come in. That's where we're going to talk about. No, and we'll do that in a second. But first, I just want to review this whole open step with you. This is about opening your hand when you were at the top of your motion, away from the harp at your farthest point, whatever that happens to be that you open your hand, anticipate where you're going. We're still aiming, right? You're aiming with your eyes, your arms got you in the right place. And we're opening our hand to get to those exact right strings with all those fingers. There's a lot that we're going to talk about in just a moment, but remember, the key here is opening your hand. There's a classic Sherlock Holmes story, the Scandal in Bohemia, and I love all the Sherlock Holmes stories, but there's a quote from this one that I think is so important. Sherlock is, of course, pointing out to Dr. Watson that Watson has. Has seen all the same things that. That Sherlock has seen, but he hasn't paid enough attention to them to draw the right deductions and, you know, solve the mystery. And the statement is this, Watson, you see, but you do not observe. You see, but you do not observe. Now, why is that important, I think, here? Well, I think it's important because this is where those finger shapes and finger sandwiches let us down. They don't give us enough information when we Know where our fingers need to go, then we're likely to get there. Sure, we're going to have slip ups, but we've got the mechanical part of this down. We know where we're going, we're aiming, we know how we're going to get there. We've got that whole open thing down. But until we really know where it is we're trying to go and why we want to go there, we're not likely to end up in the right spot. So that finger shape is great. But if the finger shape is trying to tell us a C chord in root position and we've got the right shape, but we end up on a B chord, we're in the wrong place. Okay, didn't work so well. So I want you to think about ways you can actually know the chord. Now, I'm not really talking about theoretical knowledge for the chord. I'm not talking about, well, it's a C chord in second inversion. All those things are good. But that's not going to be my first.

Piece of advice to you. It's further down the chain. I want you to start really simply by just knowing what every note in the chord is. I want you to know what the notes are, because the shapes by themselves aren't reliable. And who has time in the moment to think, oh, that this is a D minor 7 chord in second inversion? Okay, we don't. But the knowledge that we do have gives us a point of reference. The chord shape could be anything. But when we have specific information, we know a lot more about where we're going to go. And believe it or not, I think that this knowledge, sure, it's going to start from identifying every single note that's there, but it's really going to be about listening as well. So take just a simple thing like this. Here's our C, E, G triad. I'm going to add an octave on the top. C, E, G, C.

All right. Well, sometimes we're not even sure that all those notes in the chord are sounding. So this can be a great thing to do. Suppose you have a whole slew of chords like this. I'm just playing chords up and down, no big deal, right? Suppose you have that whole slew of chords. Well, let's try playing just the top two notes. So I've got a G and a C, an A and a D, a B and an E, a C and an F. And I'm going back down. Okay, A and D, G and C. Well, that's great, because now I know a couple Things that I didn't know, perhaps before. I'm making sure that my second finger and my thumb are playing equally. I can hear both of those notes. Ooh. And I've given myself a chance to really understand what those notes are. Maybe I concentrate on the outer notes. So my fourth finger and my thumb. Oh, look, they're octaves. Okay, well, this is pretty easy, right? But this is going to give me. By just playing those, it's not quite a tune. By just playing those, it's going to give me a way to make sure that those notes are equal and sounding equal as I play them. What if I look at the bottom two notes, the C and the E, D and the F, E and the G, F and A, and then back down to the E and the G. Oh, it's great. A great exercise for my fingers. And I'm learning where every note in the chord is. Maybe I play the fourth finger and the second finger, and I learned those. You can look at all those different combinations, and this is going to help you really hear what those notes sound like in addition to what they are. Now, the chords that I played were really simple, but if you have more complex chords, rather.

Just a plain old seventh chord here in different inversions, but learning not just the shape of them. Okay, I've got the. The little finger sandwich there in the middle, right? And I've got, you know. You know, learning the shape is one thing, but learning the sound is something else. And you can do it by saying, okay, I'm going to play the second and third finger in each of those chords.

Make sure I know what the notes are, and make sure I know how they sound. When you've spent just a moment listening to them, you're more likely to know whether or not you're playing them equally when you play all those notes together. So if you have a chord passage like that, or even a single chord, pay attention. Know what those notes are. Play them in different pairings of fingers 1 and 2, 1 and 3, 1 and 4, 4 and 3, 4 and 2, 4 and 1, 2 and 3, all those different combinations to really be sure that you know what they are. Very, very simple, but it's really going to help your learning of the chord.

Next level skill here, next level drill, would be to practice saying the notes. This is really about focus. What are the notes you want to find? So when you do that kind of placing drill, say those names of the notes that you're aiming for while you place them.

So if this is my. My drill here and I want to work on, oh, say the two and three in the middle. I'm going to say I'm placing the E and G, F and A, G and B, A and C, G and B, F and A, E and G.

And maybe you work on the bottom three. If you're doing a four note chord, you can do that too, right? And you can just think about what those combinations of notes are. You will be amazed. When you take a little bit of time to pick the chord apart and listen to those different combinations of notes, to identify those different combinations of notes and to say them, you learn a lot more about the chord. And this takes that whole finger shape idea to the next level because you're really learning what those shapes represent, which notes they represent. So let's try something else. We're going to take that same series of chords. I realize they're pretty basic chords, but it's a good thing to practice with a basic chord. And right now what we're going to do is try placing the bottom note first. So let's say the name of the bottom note while we place it. It's a C. And we're going to say C, D, E, F. We're actually not just aiming for it, but placing it first. Getting that fourth finger on the string just a little bit ahead to just emphasize the fact that that's where we're aiming. Now contrast that with how that same idea feels. If we do the thumb first, we're doing the top note. So the notes are going to be the same. C, D, E, F. Now I'm just putting that thumb on a fraction ahead of the other notes just so that I can see that that's what I'm aiming for.

It feels very different. Now let's try something else. And let's try aiming for the middle two notes first. So I'm going to take those same chords and I'm going to aim for the E and the G. They just get on a second ahead of the other notes. Split second if you like. But the E and the G, then the F and the A, the G and the B, the A and the C. You are likely to find that that really helps your aim, that aiming for those middle notes first helps you find the chord more quickly. And I would say in a lot of contexts in real music, that's going to be true for you. When you focus on those middle notes, it's going to help you place your chord. Now that doesn't mean that you always want to place them ahead of the other notes, but you may want to aim for those notes more specifically when we can find where we need to go with our second and third fingers, often our thumb and fourth finger will just sort of fall into place. They're used to sort of being the. The guides for the rest of the hand, so that if you can get 2 and 3 in the midd on the right strings, they're the ones that are more likely to fumble. So if you can get them on the strings and be secure in those, 1 and 4 are likely to find their places. That's one of the biggest game changers that I discovered in my own chord placing that. Looking for those middle notes guided the rest of my hand. Now, in order to place those inner notes correctly, I needed to know what they are. So that's where this component really comes into play. If I'm aiming for E and G in the middle, my fingers know where to go, my eyes know where to go, my arms there, my brain's involved. And they'll get where they need to go. And 1 and 4 are likely to just follow right along because they're good that way. So I would encourage you to try that. Particularly if you have strangely shaped chords right where those middle notes, maybe they're right together, maybe they're far apart. But aim for those. Know what they are. Listen to them. If. If you have a chord, maybe it's something more like this. What do those middle notes sound like? They're F and G. What happens if I just aim for those F and G and then put the other notes around it?

Place those notes first. Aim for the F and the G. Aim for F and G. Let everything else fall into place. This is, I think, a magic secret, and it's one, of course, I have shared with you. So I think that you will find that's really powerful. Look for those middle notes. But you need to know what they are. You can't just guess at them. Now, of course, if you know what the chord is that you're looking for, it's a C major triad in root position. That's great too. But the specific knowledge of those specific notes you're aiming for will probably help your chord placing just a little bit more. So let's put those three components together. It's about aiming with your eyes and with your arm. It's about opening your hand. Yes. To the right shapes, to get your hand in. Into the direction of the strings. Right. So your aiming has put you in the approximate location. Then you open. You lower that landing gear to get you to the right strings. And because you know what those right strings are, you can hit them, hopefully accurately the first time. So it's those three components, aim, open and no, that are so important for giving, getting your chords placed. Well, next week on the podcast, we're going to be talking about focus because that's so timely. It's the week before our Focus Clinic and I want you to get all ready and warmed up for that. But we're going to be talking about focus and perspective. What is a detail and what's really important to the music. Where do you come into the picture? Are you a minor detail or are you the star? We're going to be talking about how to focus on the details without getting lost or bogged down in them so that you can keep moving and. And, you know, get to the music, because that's the fun part. Right? Okay, so that's next week on the podcast. Reminder. Please register for our Focus Clinic. This is the Sharpen youn Focus and Elevate your Performance clinic given by Dr. Lucy Smith. I'll be there, of course, as host for the event. And that's coming up on Monday, May 5, 7:30pm Eastern. My heart Mastery members. This is included in your members. You need to do nothing. But if you are not a My Heart Mastery member, I don't want you to miss this. So please go ahead and register. The cost is $24.99 and it gets you the clinic and of course, a seat. Fly on the wall seat at the masterclass. At the end of the month, we're having a masterclass where Dr. Smith and I are going to be working with a few harpists to help them with their Focus challenges. And this will be a great time to get some Q and a in with Dr. Smith as well. So please look for those links on there on the homepage under Upcoming events. They're here in the show notes. They're in the app. I don't want you to miss it. So that's coming up and I hope to see you on that call. In the meantime, remember, every day is a day. You can add more harp happiness to the universe, to your world, and to your spirit. And all you have to do is play. Thanks so much for listening and I'll see you next time.

Thanks for tuning 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.