The Shortcut Way To Build And Maintain A Repertoire - PHH 099

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.

Building a repertoire sounds like something only a master harpist would need to do. Yet all of us need to have music that we can play anytime and anywhere we want. But building a repertoire sounds like a huge project. I'm going to show you today that all you need to do to build, and more importantly to maintain a repertoire, is one pen, three sticky notes, and five minutes. Impossible. Not impossible. In fact, we are going to take the seemingly impossible task of building a repertoire and make it super simple. It's a little like turning a black diamond ski run into the bunny slope or turning Mount Everest into a molehill. Well, okay, maybe that's a slight exaggeration, but if you've ever struggled with having pieces ready to play at a moment's notice, or keeping those pieces you finished in your fingers, you're going to find today's episode is a game changer.

One of the first coaching students I worked with online, and this was years ago, came to me with the goal of developing a repertoire. She was relatively new to the harp, and that actually made my job easier. She had very few preconceived ideas about what a repertoire should be like, what kinds of pieces she should play, how long they should be, how much music she needed, and whether or not she had to have it memorized. In just 12 weeks, she actually had 45 minutes of music that she could play confidently. She had her repertoire now. 12 weeks to go from zero pieces to 45 minutes was a really good time frame. There were two things that made that possible. First was her lack of shoulds. Because she hadn't put limitations or restrictions on what her repertoire should be like, she was open to possibilities that more seasoned harpists might have discarded. I'll talk about that more in a minute. Second, I introduced her to some shortcuts that made it easier to keep up with her pieces, to keep them in her fingers and relatively fresh in her mind too. Those are the shortcuts I'm going to be sharing with you today. So if your repertoire needs a refresh, a restart, or just a boost to get off the ground, this is the information you need. We'll take the shortcuts and we'll whiz past the places where you may be stuck and we'll clear up up some of the thinking that may be keeping your repertoire in the someday pile. And all you will need to get started is a pen, three sticky notes and five minutes. Well, and to listen to this episode first, of course. Before we get started on this topic though, I just want to tell you how excited I AM. Tomorrow, Tuesday, April 11th at 11:00am Eastern Time, we are doing the live podcast taping on of our next podcast episode which will be episode 100. That's a big number for me. That's a lot of lot of episodes and I'm excited to be able to tape this podcast live. So we have been giving you sending you through email and talking about on the podcast. We've been issuing every invitation we can for you to join us. You'll be able to join us through the Heart Mastery Hub. You'll find the information there. Or, or you can watch the podcast. Yeah, I know. Usually we just do audio, but this'll be video too. So you'll be able to watch the podcast in our Facebook group Harperappiness HQ or at our Harp Mastery YouTube channel, which you can find by going to YouTube and searching for, you know, that funny little@sign harpmastery. That's our channel name. And we'll be doing the stream from there as well. So you'll be able to do do all those things to join us. And I'll be Talking about my 30 days to done system and walking you through that and making sure that that's clear to you because that's my favorite shortcut way to walk my students through how to start a new piece and how to really make sure that you're moving through a new piece very quickly. So there you go. That's what we'll be talking about and that is tomorrow. I'm so excited about that. Now if you're listen this podcast after the date and you're saying darn, I missed it, well of course you'll be able to listen to the replay here on the podcast next week when we'll broadcast the audio from that call. And you'll also be able to hop on over to our YouTube channel to watch that replay as well. So all that will be available to you and you won't miss anything. But I'd love to have you join me live. So that's happening tomorrow. Please tune in for that. Cause it'll be just a ton of fun. Now, I hope your repertoire is a ton of fun for you. And if it's not, that's okay. Hopefully it will be. Or you'll have the tools that you need to make it fun for you. And let's get started talking about that right now. Let's start by thinking about what a repertoire is. Repertoire is such a fancy word, you know, but it doesn't have to be fancy. When we think of the repertoire of a concert artist, we think in terms of, you know, lengthy recital programs and concertos and these big pieces. And it sounds very Mount Everest like and hard to attain. Right? But that's not what most of us have for a repertoire. A repertoire is very simply the music that you play even better. It's the music that you love to play.

And it really only needs to be one piece.

Now, I have the hope and the expectation, and I'm sure you do too, that you will have more than one piece that you feel comfortable playing and that you love to play.

But the first person that you need to consider when you're building your repertoire is you.

And I think very often we are the last people we think of when we're building our repertoire. So let's talk about the shoulds, right? Those things that keep us from creating a repertoire or thinking that the music we already have is a repertoire. And maybe sort of stymius in our quest to figure out what a repertoire could be. So let's talk about those shoulds for a second.

Here's a should statement that we are going to contradict. You should have 60 minutes of music to have a repertoire. 60 minutes. So that's huge. Now, perhaps you are playing in places where you need to have a 60 minute repertoire. Well, you know, the thing is, you can build up to that. You don't have to start with 60 Minutes of Music. I know that when I first started playing those kinds of jobs, I did not have 60 minutes of music. In fact, the very first paid job that I did when I started doing weddings was I was playing a wedding prelude and I was actually alternating selections with the organist. And all I had to do was Play the prelude. I didn't have to do any of the ceremony music. And we were alternating pieces and we were going to play combined for a half an hour before the ceremony. So I'm thinking, okay, great, five, six pieces. This is really all I need.

So I, you know, took music with me. I took some books that I knew I was going to play from, and I had my plan. But the problem was that the. The groom's car broke down, sprung a radiator leak and broke down on the way to the church. And so we were told as we were getting to the end of our half hour and the. The moment for the ceremony to start had already passed, we were told that the groom was going to be at least another half an hour before he could arrive. So I had run out of music. So I started, you know, sight reading some things and I started repeating music that I had brought with me, as did the organist. And the thing is that, you know, repeating the music, nobody noticed or worried about it. They had other things on their mind. So even though in that particular case I needed way more music than I thought, than I had prepared, and than I had thought I was going to need, it really wasn't an issue. I just played the pieces twice. So, you know, that's a place to start from, right? If you need 15 minutes of music, maybe you only need 10 minutes, and then you can plan to do some, some extra repeats of things.

So, you know, give yourself some, some room to grow here. Don't think that you have to have a particular number of minutes worth of music to be a repertoire. One piece counts. Okay. Another should with repertoires. Well, they should be the, the, the pieces that will astound my audience. The hardest pieces I know how to play. They should be, you know, pieces that, that sound substantial. They should be pieces that, that, you know, are going to let everybody know how accomplished I am and, and you know, that I'll be playing music that's worthy of their ears.

The thing about a repertoire is that it should not be the hardest music we've ever played. It should be music that we feel comfortable playing well, which is usually music under our level. Now this makes sense, right? It's not cheating. We want to be able to present music that is beautiful and sounds seamless and fluid and well prepared and confident in all of those things. How can we do that with the very last piece that we've learned, the very hardest piece, where we're still trying to make sure we get petals and levers on time and our right hand can't manage that one place smoothly yet, and we're still holding our breath at measure 36. That's not the kind of piece that is ready for your repertoire. It needs some. Some time to age.

And to really become comfortable. Your repertoire needs to be comfortable. So don't think about those hard pieces. And I will tell you from my own experience, I can play the hardest, most dramatic piece that just, I think, wow, okay, that's really made an impression. But it turns out that the piece that the audience really resonated with was. Was the much more simple piece that they actually knew.

And the piece that I thought was the real showstopper or was going to be the real showstopper they thought was nice, but, you know, it was kind of pretty. And, gosh, that it was very relaxing. And I'm thinking, relaxing? I sweated bullets over that piece. What do you mean, relaxing? So remember that an audience's perception is not yours.

And they don't need to hear the very hardest piece you can play. They just need to hear a piece that sounds well played and lovely. That's what they want.

So make sure that you know you're not overstretching yourself. It doesn't have to be hard.

Another one of those shoulds people think that their pieces should be memorized? Actually, this usually comes at me in the form of a question from a student. Well, do I have to have it memorized? Of course you don't. If you love to memorize pieces. If you feel more comfortable playing from memory. And there's the word again. Comfortable, Right. If you feel more comfortable playing from memory, then by all means have your repertoire pieces memorized. But they don't have to be. Nobody is grading you on whether or not your piece is memorized.

So you don't have to have it memorized. It just has to be played. There you go. Doesn't have to be memorized.

But when people start thinking about repertoire for things that they might want to play for this occasion or that occasion or in this place or for these people, then they start thinking that their repertoire needs to take on another dimension. Now, it may need to be more than one piece. You may need to have more pieces than that. But sometimes we get all caught up in trying to meet other people's needs. Well, let's see. My repertoire for weddings should have all the pieces that are going to commonly be requested. Like, I should have the Wedding Marches and the Pachel Bell Canon and maybe the Trumpet Tune and maybe the Ode to Joy. And I should have this and this and this and this. Well, you don't need that. Actually.

Your repertoire needs to be music that you feel comfortable playing and that you like to play. If you don't like to play the wedding marches, then you don't have to. And when the bride comes to you and says, well, and I'd really like to have the wedding march.

You don't have to say, well, I'm sorry, I don't play that. You'll have to find another harpist. What you can say is, well, you know, for me, I think the wedding marches don't, you know, they don't go with the harp very well. And perhaps you want to say, you know, that. That the harp has its own particular elegant sound that I don't think matches with the wedding marches. So I don't play them, but I have these options instead for processionals or recessionals or, you know, if the bride wants the Pachelbel canon and you just can't face playing that one, then you offer an alternative.

But you don't have to have pieces just because you think people want them. If you don't want to play pop tunes, then you don't have to have them in your repertoire. Your repertoire is your music. It doesn't have to be anybody else's.

If you're thinking that you need to have those pieces in order to get enough work playing weddings to, you know, feed you and your family, then maybe you do want to include those. But in that case, you have a more pressing reason to include them. Right. But if you don't want to play them, you don't have to. Who? Radical thought. Okay. You just have to make that known ahead of time, don't you? Yes, for sure. Okay. This. Going along with this would be. Well, let's see, I have to have music for all occasions, so I have to be prepared for weddings and funerals and, you know, bar mitzvahs and, and Easter and Christmas and St. Patrick's Day and Valentine's Day. And I have to have something for all those things. Oh, goodness. Well, that's a lot of music.

If you are a professional and that's what you're doing, then you need to have some pieces that, that are special for those occasions, for sure.

But for most people, I advocate starting with the three piece rule. Yeah, that's right. Just three pieces. This is where your repertoire is going to start. It can start with one piece, but we'll branch out to three pieces for right now. And one of them has to be an easy piece that you love to play. Just any piece that you love to play. And that could be anything from, you know, Mary Brook to the Little Fountain to Purple Bamboo to Jasmine Flower to, you know, whatever it is that you love to play. One piece that you love to play. The second piece should be a piece that you like to play that you know is going to be familiar to anybody listening.

Now. Maybe that's going to be.

A hymn, maybe it's going to be a popular song, maybe it's going to be.

A classical tune that you know, people like. The Pachelbel Canon might be one.

But if it's familiar to people, that's terrific. It's even better if that second piece is sort of a multi purpose piece. For instance, a piece like the Pachelbel Canon would work just to play for anyone, anytime. It would work at a wedding, it would work in church, it would work at a funeral, it would work as background music. Right. So there are lots of multipurpose pieces like that. Green sleeves might be one that even works for Christmas too. Right. So would the Paco Bell. So there. You know, if you have your, your favorite go to piece and then you have your multi purpose familiar piece, that's two pieces and the third piece. Some of my students have heard this before. If you're going to add a third piece to your beginning repertoire list, I love to make it a harpy piece. Something with glissandos or something with arpeggios or something that is the kind of piece that only a harp would play or that you particularly would associate with the harp. That really special piece that's just kind of fun. Maybe it's a fast and flashy piece, just something special. And harp like is even better. Right. So there's the three piece rule. And so do you see how these three pieces can actually serve a lot of occasions? Right. Everything from a little recital piece to a background music piece to a piece that would be part of a performance for a luncheon or a church service or a wedding or a funeral or an anything else. So that's what's kind of fun. A nursing home thing. Sure. A hospital gig, any of those. Right. So that's your three piece rule, sort of for music for all occasions. You don't need something that's just suitable for one day. It's kind of like a mix and match wardrobe. Right. We're going to be able to combine these things in a particular way that makes them exactly right for any particular occasion.

Here's another. Should, should I have my piece really, really polished? How polished does it have to be. Well, we'll talk about that in a second. But. But remember that in a lot of situations, we don't need it to be super duper polished and ready. Is it going to be background music where nobody's going to notice if you make some mistakes? Is it going to be in front of an audience that is going to notice? Or is your audience going to be family and friends and they're not going to be nearly as demanding? Perhaps, you know, you won't feel like they're being quite so critical.

So let's get rid of some of those shoulds and realize that there is really only one should when it comes to creating your repertoire, and that is that it needs to be music that you love and music that you love to play. That's it. Your repertoire is your music.

And that's what counts here. Okay, but here's that big question, right? How do I know a piece is ready to be part of my repertoire? Well, there are different levels of this, but here are some markers that may help you be comfortable adding it to your repertoire.

If you put that piece of music on your music stand right now and you could play it through and enjoy playing it, it's probably ready. If you can enjoy it while you play it, other people will enjoy listening to it, too.

Here's another way to look at it. If you can play through your piece and be thinking about the dynamics or the expression instead of just the notes, then you have enough mastery of the piece to be able to have it as part of your repertoire. Because you're no longer struggling with notes, clearly you're able to think about the dynamics and the. The musicality of the piece, so you have enough control over the piece for it to be a good repertoire piece, even if it's not perfect. Okay.

Another good marker would be if you could play through the piece without stopping. Right? That's kind of a. It's kind of a big. A big divider right there. If you can play through the piece without stopping, then you know that you have a certain level of competence that's going to, you know, going to please an audience. Right? Going to please anybody who's listening. A listener likes to feel that the person who's playing for them is comfortable playing for them, which is one of the reasons I tell you to choose easy pieces for your repertoire.

And if you can play through your piece without stopping, that's going to help the listener stay involved in your music without thinking about how hard it might be for you to do it.

A general idea might Be that, you know, your piece needs to be about 85% correct to be able to add it to your repertoire. I mean, consider your listeners here. If you're playing in a recital situation, you probably want to have that higher level of mastery, right? Where you can play it and enjoy it and you feel comfortable playing it. But if you're playing it for background music, where people are talking, then playing it through without stopping is certainly good enough. Right? And in fact, it will help you learn to play that music even better.

For I was doing a lot of background music playing when I was in college and a young adult. This was how I, you know, how I fed myself, how I supported myself. So I was playing a lot, playing all the time. And when I started doing this kind of playing, I was pulling out the easiest books I had. I needed quite a bit of time, but I was pulling out beginner books and just reading through the pieces. And then I quickly realized that, you know, it was more interesting if I had slightly longer pieces to play. So I pulled out the next level of books that at least had two page pieces in. But then I started realizing that, you know, lots of times it was very noisy at the places I was playing, noisy enough that I could almost not hear myself sometimes. And I thought, well, so why don't I take some of the pieces I'm actually working on, some of the harder ones where I know I'll make some mistakes, but not enough that anybody at the cocktail party would notice. But it gave me a lot of extra playing time on those pieces and helped me learn to play them better. So I actually got sort of double benefit from those kinds of background music jobs because I was getting paid to practice, to practice my concert repertoire. Every once in a while, somebody would catch me out and they'd be saying, wow, how come you were playing this for just background music that's real repertoire? And I'd say, well, yeah, but, you know, I'm practicing it, so it's a. And people enjoyed it, and it was harp music, and they liked it, and it worked out fine. There were some pieces that I thought weren't suitable for background music, and I didn't do that.

But that's how I perfected a lot of my repertoire. I played it over and over again at these kinds of jobs, and you can, too. And that's where that 85% rule comes into play. If people aren't really listening, you don't have to be quite so worried about making a couple of mistakes.

And you don't have to be worried either if your piece isn't quite up to tempo yet. The tempo develops over time and with constant playing, you want to be more comfortable at those faster tempos. And it just takes a little bit of time. So you can use your, your general playing for people to help develop that. You know, if you're playing a piece at church or if you're playing a piece for, for, you know, people at a senior center, or if you're playing for family, it's okay if your piece is a little bit under the tempo where you'd like it to. Eventually.

Playing it slightly under tempo the way you might need to at this point in those situations will help it become familiar enough that it will get up to tempo. It doesn't have to be at tempo. First.

Consider some of the opportunities you have to play your repertoire. Like a little toothpick test, right, where you're testing a piece out to see exactly how ready it is.

In those situations where you know your listeners are going to be very forgiving and not necessarily extremely critical, you can pull out something that you think isn't quite ready yet. Not, you know, it's a little bit underdone, maybe not quite baked. Give it that toothpick test, see how close to done it is by playing it for these people. Because you can always put it back into bake if it needs more practicing, you can always put it back in the practice rotation for a little bit.

But give yourself plenty of leeway here. Let yourself test out pieces for other people and not think that your repertoire has to be a hundred percent perfect before you take it out in public.

Kind of depends on exactly what your public is, doesn't it? So let's imagine now that you have your three piece repertoire. You have that piece that you love and the piece that, you know, people love to hear, and maybe that extra special harpy piece. And they're pretty much ready. I mean, you can play them through without stopping. And so you think they're ready to sort of be the basis of your repertoire. So we've got that little, little nugget of a repertoire to start with. And how do you start.

Using that as a repertoire? I mean, the idea is of course that, that you're going to play it for other people. But you have to keep those pieces in your fingers. And review is often the trickiest part because it takes time and we don't, we're not usually told exactly how to review things. I know I often talk about having one day a week when you can review your repertoire, but that's not practical for everybody. And sometimes it's not practical.

To be reviewing all your repertoire all the time. That can be just a lot of pieces to be juggling. So that's where my shortcut system comes in. My one pen, three sticky notes, and five minutes. I know it sounds impossible, but it's going to make the impossible possible, I promise. So here we go. Let's say you've got your three pieces, right? The piece you love, the piece people love to hear, and that flashy piece. Take your pen and write the name of one of those pieces on each sticky note. See why you had three sticky notes? Three pieces, three sticky notes. Get it? Okay, then what I want you to do is save the last five minutes of your practice every day to play one of those pieces. So you're going to take your three sticky notes, put them on your music stand, and pick one of them each day. Now, if you want to keep them right next to your music stand and put one on top of your practice journal each day so that you know that you're rotating them, that's one way to do it. Whatever system works for you is fine. But you've got those three sticky notes, one piece on each sticky note, and the last five minutes of your practice every day is going to be playing through that piece. Now remember, reviewing repertoire consists mostly of playing, very little of practicing. We want you to be able to play through that piece, realizing that the more you play the piece, the more comfortable it's going to get. Every once in a while, you may have something that you want to look at, a measure you want to review, but 99% of your time with that piece is going to be spent playing it, not practicing it. So that's why five minutes is enough.

And if you need to set an alarm on your phone or something to remind you, you know, oh, I'm at my last five minutes time to do my review piece. That might not be a bad idea, especially if, you know that, you know, I've got an hour to practice, and then I need to leave to go pick up the kids, or then I need to start dinner, or then my family's going to be coming home or whatever it is. Make sure that you save that last five minutes. Set that alarm so that, you know, okay, so I'm done now. Time to do my review piece.

And so in that week of practice, you'll get through each of those three pieces at least once, maybe even twice. If you do six days of practice during the week, or if you have an extra Five minutes. And you're going to be able to use those sticky notes to remind yourself to play those pieces, because that's how they stay in your repertoire with that constant playing. Now, let's talk about some of the objections that you might be that might automatically be popping into your mind. Well, that's not going to work for me because, well, let me see if I can anticipate some of that. Maybe you don't have three pieces yet. Well, all right. Start with one. You've got one sticky note or two sticky notes. That's really not a problem, is it? And as those pieces get more comfortable, you can add a third piece. When you figure out what you want that third piece to be. Okay, but what if you have more pieces than that? Well, there are different ways to look at this, but you could take from your repertoire list, you could take three pieces per week and rotate them by week, or you could even use four or even five pieces per week. Get your. Get yourself five sticky notes, put one piece on each and say, okay, this week I'm playing through these five pieces one day each week. And then next week I'm going to pull up five more pieces and I'm going to do those. And then the following week I'm going back to the first five, and then I'm going to do the second five. So that you've got, you know, two little sets of music that you're going to be reviewing each week. In any case, you'll never be getting too far from those pieces, right? They won't be left lingering so long that they get rusty. Just remember that you don't want to overwhelm yourself with too many pieces. Doing fewer pieces more frequently is better. And the more comfortable you get with those pieces, the longer they'll be able to go in between playing. So, you know, once those pieces are just like, oh, yeah, I could sit down, I could play this one in my sleep. But, well, it doesn't need to be on a sticky note so often. That might be on a once every month, once every other month, twice a year. Sticky note. Right. That doesn't need to show up quite so often. If the next time you bring it out, it feels kind of rusty, you may want to put it in the rotation more frequently. But if you just have those three or four or at most five sticky notes per week, you'll know you'll be looking at your review pieces in a really good, easy, manageable way. One a day, the last five minutes of your practice.

Okay? But then you say, oh, Wait, my pieces are all longer than five minutes? Well, all right, if your pieces are longer than five minutes, then maybe you need 10 minutes.

Save yourself 10 minutes at the end of your practice. But the thing is, by the time you're playing pieces that are that long, you probably are practicing enough to allow for that 10 minutes in your practice. That's going to be fine.

Once again, I would say no more than five pieces per week. So that if, if you're looking at a piece every day in your practice, you can get through five pieces. You can look at another five next week if you want. But don't feel like you have to review your whole list at once. This will do it.

But you say, well, but see, I've got, I've got my wedding list, and I've got my church list, and I've got my Christmas list. Well, if you have those specialized lists, there are two things that I recommend you do. One is to create a core of multipurpose music, just the same way I was talking about with those three pieces, right? Take a piece that's going to work for multiple lists, that Paco Bell canon, for instance. It's going to work for my nursing home list. It's going to work for my wedding list. It's going to work for my church list. It's going to work for my Christmas list. So that you know that you have pieces that will work for all of those. So create a core of 15 minutes or 30 minutes, depending. You know, I don't know how much music that you have, right? But if you've got, if you, if you need a list of 60 minutes for each of these things, then make 15 or 20 minutes of that list. Stuff that works on more than one list. Then if you know that you have your 60 minutes of wedding music and, and you've got a wedding coming up, create a lead time for the rest of that list so that while you might be reviewing your core music all the time with your sticky notes, if you know that, oh, I've got a wedding coming up in a month, well, let's take those other pieces that you haven't been reviewing.

See if you're going to need to practice any of them, but give each one a sticky note and start putting that in your sticky note rotation before, you know, however many weeks before that wedding that you're going to need. So you can set a lead time for the rest of those specialized lists. But you can see where the beauty of the multipurpose music is here, right? It's already in your Fingers, it's all ready to go. Granted, for something like a wedding, there might be a processional or something special service music that is something that is not in your standard repertoire. Well, this is when you actually put it in your practice repertoire. Right. You don't need a sticky note for that. It just needs to be practiced. But your sticky note music is the stuff that you want to play all the time and expect to play all the time.

But there again, that special music that you actually need to practice may turn into being, you know, maybe the perfect repertoire piece to add to your repertoire and might become a sticky note. Yeah. So that's the system. Let me just recap a little bit about what I talked about. Remember, there are no shoulds about your repertoire except for this one. It should be music that you love and love to play. Your repertoire is your music. Okay? And it's ready probably much sooner than you think it is. Don't be afraid to give it a test. You know your find your comfort level, but let your comfort level be at. Be guided somewhat by the listeners that you're playing for. How critical do you think they're going to be? How accepting will they be? How just thrilled will they be to have somebody playing the harp for them?

Much more thrilled than they will be looking for any mistakes that you might make. Right. So keep that in mind. And then there's our shortcut system. One pen, three sticky notes, and five minutes. Five minutes a day toward maintaining your repertoire, keeping it fresh. The simplest way I know to do that. Okay, one more. One last reminder that tomorrow is the podcast taping of episode 100. That episode will go live a week from today, next Monday, and you'll be hearing me talk about the 30 days to done system and how that works. So if you're able to be at that live taping tomorrow, you can use the link in the show notes to find out how to join us. Um, if you're not able to attend that live taping, that's just fine. You'll be able to hear it next week and you'll be able to see that replay as well. Um, it'll be available on our YouTube channel, so all of that is fine. Just a fun way to celebrate the podcast turning 100 episodes. Woohoo. So that's what's making me happy this week. But 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 will see you next week. 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.