May 25, 2026

The Sound of Gold with guest classical pianist Madison Yan

The Sound of Gold with guest classical pianist Madison Yan
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Season 2

What does it take to be a classical pianist? Where do you play? What do you do with that kind of talent? Tune in today to learn from one of todays classical performers.

The Sound of Gold is broadcast live Mondays at 4PM ET / 1PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Sound of Gold TV Show is viewed on Talk 4 TV (www.talk4tv.com).

The Sound of Gold Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

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WEBVTT

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This program is designed to provide general information with regards

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to the subject matters covered. This information is given with

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the understanding that neither the hosts, guests, sponsors, or station

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are engaged in rendering any specific and personal medical, financial,

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legal counseling, professional service, or any advice. You should seek

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the services of competent professionals before applying or trying any

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suggested ideas.

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Hi, welcome to the Sound of Gold. It is good

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to be back and we are airing on Memorial Day weekend,

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and so hope everyone is enjoying their weekend and having

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a great time and taking time out just to relax.

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It is still a Monday and some people are working,

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and even if you are, I'm hoping it's a relaxing

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day for you. Today. I would like to focus as

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always I focus on music, musicians, music venues, music teachers,

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and music schools. And my mission, my passion of doing

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this is to keep music alive. We are going into

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this world of greater technology and AI and it's so

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exciting what we're developing and coming up with. However, instruments

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I believe will always be and the musicians will always

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that exists now and that continue to thrive and be

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motivational in support of or to be a musician themselves.

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Playing an instrument is authentic, and it's just I want

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to keep that alive. There's a great authenticity to being

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a musician and playing an instrument and just being original.

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There is so many different ways to go about this,

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and I know a lot of my audience out there

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you are musicians. You are tuning in to learn more

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about different approaches or different ways of learning, or different

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places to perform. I am also, as some of you

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may know, a music teacher. I teach piano. I'm also

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they call me the instant composer. I perform, and I

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have this show and I absolutely love doing this for

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the fact that this show is not about me. This

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show is for my guests. And today I have a

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very special guest from Palm Beach Gardens, which is not

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far from where I'm where my home music studio is.

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I have Miss Madison Jahan, who is a professional classical pianist,

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and I know she's sitting backstage and I'd love for

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you to meet her. Madison, please join us.

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Hi, Lisa, Hi, thank you so much.

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For making the time today in your schedule to be here.

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Of course, I'm so excited for this.

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Now we had met. I happened to be on the

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board of the MTNA, which is the Music Teachers National Association,

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and we had met because you had come to Hamilton

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Piano to perform and you played. You played beautifully, and

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it was I was in such awe listening to you play,

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because not only do you just sit and play like

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you're connected. And there's so much conversation we can have

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about this for my listeners that are perhaps taking lessons,

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want to take lessons, or even for musicians that have

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been doing this for a really long time. I think

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we learned from each other. And yeah, give us a

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little story about your journey in music and where you

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began and how you've got to where you are.

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First of all, thank you for your kind words.

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So right now, I'm twenty two.

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I just graduated last year from the University of Miami. Congratulations,

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Thank you as a piano performance major there. And my

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professor there was Kevin Kenner, and he's been a big

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inspiration for me. My journey started I think in two

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thousand and nine. I was five years old and my

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parents were the ones who had me start lessons and

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this was in Wisconsin, Okay, which is where I was born.

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And then I grew up for a few years. That's

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why my name is Madison. It's like a little fun

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fact in Madison, Wisconsin, Okay. And then at that time,

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I didn't really take pianos very seriously. You know, I

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was still young, so it was just a lot of practice,

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maybe fifteen minutes or whatever hover long.

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I just want to go outside and play.

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And then I came to Florida and around twenty eleven

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and found my teacher, a private teacher here, Arena Kaufman.

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And she was the one who like she was the

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one who pushed me and inspired me.

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And bring me the great foundation.

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And she had me to competitions and she introduced me

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to like what piano could be. And then in high school,

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I also began taking lessons with Professor Kenner along with

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doctor Kaufman. So yeah, and he such an amazing pianist.

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So yeah, he.

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Was a big, big inspiration for me and completely changed

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the way I listened to music. And so I decided

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to stay with him for music school for college.

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And and yeah, that's pretty much yeah my history.

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So you played beautifully, you play where you classically trained.

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When you played for US, you played I believe it

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was a chopin a piece by Chopin m Yeah, I've.

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Been classically trained. Yeah from the beginning.

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Yeah, excuse me, so, Madison, I've been playing for over

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forty five years and I started when I was five,

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And it sounds like you've gotten some great support in

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your life starting at the age of five as well. However,

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I think you might you might have a different yeah,

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maybe different influences. I wasn't. I admire you. I'm a

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most envious that you've had such a great background. I'm

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not knocking the teachers on my experiences. However, I didn't

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have like an inspiration other than my mom and dad saying, oh,

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we never got to do this, So you're going to

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live out our dream and be the piano player. So

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I really admire you for you, you know, sticking with

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it and moving forward with your experiences. And now you're

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teaching as well. Is that correct?

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Yes?

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Now, do you teach privately or do you teach in

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a local school?

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I teach privately, and also my high school I went

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to Dreyfist School of the Arts. Yes, West Palm Beach,

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So sometimes I go and teach some like masterclasses there.

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Wonderful.

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Now, if somebody wants to sign up and take lessons

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with you, do you travel to their home? Do you

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have a studio in your home?

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I have a studio in my home, so usually they

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can come to me. I also a company for violinists

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and whatever instruments.

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Yeah, that's really good to know. So for musicians that

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are tuning in, that have bands or that are playing out,

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how would they contact you? If they're looking for an

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additional pianel player.

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You can find me. I have Facebook. If you just

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type in Madison Yan my name maybe at a piano

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and maybe I'll come up. I also have Instagram, same thing.

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You can search Madison Yan and should come.

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Up y A N.

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Madison, Yes, y An.

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My Instagram handle is y A N dot m A

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d I so Yean dot Maddie. You can message me

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on on those and yeah, let's get in touch.

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Wonderful. So for a music enthusiasts out there, and myself included.

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When you teach your mask your class, what is your

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what is your love? How I say this right? What

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is your what you love?

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To teach?

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When it comes to music, because there are so many

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different branches within the music world, and there's so many

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different focuses. There's so many different it's like learning a language,

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but there's so much to it. And you understand this,

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I know, But what is your main focus, what you

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love to share?

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Yeah?

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I agree that teaching is so now that I'm.

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Doing it much more, it's so sophisticated and it's almost

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like a different world from performing.

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Okay.

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I think for me, the thing I focus on the

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most is as early as possible show my students the

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expression and creativity in the artistry behind music. I think

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it's so easy to teach.

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From the notes. You know, let's get the notes, let's get.

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The rhythms, and like fix your technique and things like that,

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which are very important.

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And but I think something.

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That maybe I I wish I discovered earlier, And it's

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not really the fault of my teachers or anyone, but

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I think as a young student I was I've kind

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of treated piano like like a task, like homework. Maybe

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when I was younger, Like, okay, I just do what

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we talked about in the lessons, I get the notes,

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I get the.

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Rhythms, I do the phrasing, my teacher told me to,

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but I never.

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I never started to really apply my own creativity, in

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my own voice to the music until much later. So

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I think that is like what makes music so fun

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and so you know, cathartic, and it's where the artistry is.

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So I tried to from a young age, like I

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asked my students, what do you feel about this section?

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Like what is the character here? Like what is the

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story here? And try to get them to think of

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it in a fun way, not to think of it

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as work.

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And I try to.

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Have that ideas originate from them, so it's kind of

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their story, their interpretation, rather than I'm telling you what

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to do, I'm telling you yeah.

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And I love that. I love that approach and I

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understand going back to what I mentioned before, I started

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playing when I was five, and on my mom's side,

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my family's one hundred percent Sicilian, So my mom loves

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to cook and she would always love to have families over,

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family over and friends, and every time she would do that,

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she'd got list to play for us. I want you

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to play for the family, and the practicing before that,

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I was just like I could think of a hundred

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other things I'd rather be doing than practicing piano. And

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I had several different teachers over the years, and I

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mean i've really I think they quit on me, although

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one did get sick. But yeah, you know, it's just

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early on those lessons and that that understanding it's so important. However,

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or in addition to I also teach with a focus

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on creativity, because if you give me a sheet of

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paper black and white, my approach to teaching is this

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is boring, right, how can we make it exciting and fun?

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And like you said, let's let's talk about the story.

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What does the story mean? And let's be creative with it?

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And then I usually, for me, I usually go into

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like almost like a language or yeah, I would, I

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would say, like a grammar, a grammar lesson because it's

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the dynamics, right, So what are the dynamics and how

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do we express that? If we're just speaking language, how

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can we understand it? So I love that. I love

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that you focus on the creativity of it. Now with Okay,

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for example, what's the last piece that you worked on personally?

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For the most recent I should say.

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I'm working on the rock pan off second concerto.

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Okay, So when you're working on that piece. What is

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your approach now? Now I'm jumping way ahead, right because

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we went from beginning now we're going to more advance

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and I'm going to jump around throughout our conversation because

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we have different listeners at different levels that are tuning

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in and it's just kind of how my brain works. Also,

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so when you're working on your piece, what is your process?

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What is your secret to breaking it down? Because some

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musicians will look at that and be like, oh, yeah,

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I think I'm just going to have to pass on

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that and pick something easier. What is the secret to

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breaking it down so that it is not We welcome

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the challenge, however, we don't want to scare ourselves into

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its learning how to play right?

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Yeah.

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So I think actually recently after graduating and working with

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another two amazing mentors I will drop their names, Richard

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Bosworth and Sasha Starsavig, they've really like changed kind of

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the process by which I learned.

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Because I agree.

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I think I've also faced like frustrations, frustration feeling like

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I never get a piece done, or or I run

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into a wall and I feel really uninspired. I don't

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even want to finish the piece, you know, and things

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like that. Sure, So now my process is I think,

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first of all, I think it's important, especially when tackling

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a big repertoire that's maybe a little stretching your comfort zone,

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not to expect for perfection the first time. Usually for pieces,

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like big substantial pieces, I on the first kind of

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go through of it, learning it. It's not going to

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be perfect and it's not going to be completely comfortable.

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And only after maybe a year I pick it back

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up or a few months it becomes a much more comfortable.

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And then if you do that several times, let it,

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let yourself forget it, come back to it, and relearn it.

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It'll like become easy.

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It's kind of a strange process because it's like the

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hardest passages that you once struggled with now like it

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really is internalized.

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M And I think in terms.

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Of more detailed how I go about learning a piece.

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Nowadays I do a lot of site reading, so I

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think it's important. And I made this mistake in the past.

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I would go page by page and just try to

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get a page down and then move on to the

253
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next one. But now I try to do the full piece,

254
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So reading through the full piece kind of immersing yourself

255
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into the full piece and then from there choose the

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most difficult sections.

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And attack those.

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I think another like kind of rule of thumb is precision.

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So I feel like it should feel like you're getting

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to the root problems with like a laser focus sort

261
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of and always breaking down problems into the easiest unit.

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If you can't play like let's say six notes, break

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it down to four and then three and then two.

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Like I'm sure everyone can play two notes from the

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hardest passage, right, So after that feels easy, you add

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a third note and then it seems like a slow process,

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but it's kind of exponential. It'll really build up. I

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think the biggest mistake is trying to tackle everything at once,

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you know, and then get frustrated nothing's happening. It should

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be it should feel easy, nothing should feel kind of

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like impossible. It should always feel maybe slightly challenging, but

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after a day or two I can get it, and

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then you add more and more.

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So that's kind of my philosophy with learning.

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I love that, and either it's I teach do you well?

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First off? Do you have a range of students that

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you teach age wise or do you teach all ages.

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Right now, my students pretty small. I do.

279
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I have a student who's my age, and then I

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have a few younger ones like in school.

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Yeah, what's your favorite or do you have a favorite?

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Ooh, I think someone I'm sure you can relate to this,

283
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but someone older is always going to be easier to

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communicate with, and maybe it's easier for them to for

285
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you to kind of trust them to do what they

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need to do and like practice well, you know, and

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then also they're there because they enjoy playing. Because some

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younger students, you know, it's like their parents or they

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don't really they haven't found the patch in yet. But honestly,

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I've found that, like at any age, everyone's so different.

291
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It really feels like I have to be a psychologist

292
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as well as a teacher, piano teacher, you know, like

293
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everyone's so different you have to figure them out a

294
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little bit, like their personality and what makes them click.

295
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And I think oftentimes like there's the stereotype of the

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student being forced to have lessons, but I found that

297
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almost everyone like if you showed them like we were

298
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talking about the story, the creative part of it, and

299
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you treat it as like a game to solve together.

300
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They like are very much engaged.

301
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I don't think that hasn't really been a problem for me, that,

302
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like someone doesn't want to be there, there's always I

303
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think a place to kind of lead them in.

304
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That's that's wonderful. I love that approach. You know, I

305
00:19:01.079 --> 00:19:04.319
still even though I played for forty five years, I

306
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still take lessons for me as as a performer, for

307
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me as a teacher. It just helps me just to grow,

308
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right because no matter what our ages were always growing,

309
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We're always learning. There's never like Okay, I'm done, I've

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learned this piece. In fact, I teach a class of

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00:19:22.319 --> 00:19:26.880
piano students and I'm like they're like, okay, Misscold, we finished.

312
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What's next. I'm like, wait a minute, that was like

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three minutes. You need to practice it and we you know,

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we need to talk about the time values and what

315
00:19:34.839 --> 00:19:39.759
that means. What I guess what I want to focus

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on is that no matter what our ages are, for

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our listeners out there, like you can start at any age.

318
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I have a student who's ninety five years old, she's

319
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been with me for a couple of years. I have

320
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another newer student who's eighty five, and then I have

321
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my youngest student who's five, So it depends on it

322
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depends on. Yeah, they're there to learn, and either you

323
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know it or you know, there's a conversation of you know,

324
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maybe wait six months or wait a year and have

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your student try again if they're very young. So I

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love that, you know, you work with all ages, And

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what I wanted to share with you is that I've

328
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learned with taking lessons, especially in today's day and age.

329
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Let's say forty years ago or when I started playing

330
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piano or over forty years ago, there was no nothing.

331
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This makes me sound really old, but I got to

332
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say it. We didn't have computers, we didn't have cell phones,

333
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we didn't even the beeper wasn't even existing yet. You know,

334
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we didn't have the amount of we didn't have Amazon,

335
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we didn't have the amount of distractions that we have today.

336
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And so it's almost like we've adapted as adults, as

337
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grown up in myself, my age group, we've adapted to

338
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the changes. However, the authenticity of having to learn a

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piece sheet music doesn't really change. However, it's evolving. And

340
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I'm saying that because I recently had a discussion with

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my eighty five year old student, and I said, you know,

342
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I said, and he's more of a newer student to me,

343
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so I don't know his learning behaviors or his practice behaviors.

344
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So we're having a conversation last week and I mentioned,

345
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you know, he's like, should I play for three hours?

346
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Should I be practicing? You know, I go, well, if

347
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you want to. However, if we're working to someone piece

348
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what they're finding, And I wish I say this many times,

349
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I wish I had more time to study the brain

350
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because I would love to understand they're finding that. The

351
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more we chunk sections which you kind of mentioned, and

352
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focus on that and take frequent breaks, your brain will

353
00:22:00.079 --> 00:22:04.839
retain those sections more than if you sit for three

354
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hours and you play the whole piece. And like you said,

355
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and I encourage it, don't always start at the beginning,

356
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because you're gonna play the beginning so well that your

357
00:22:13.599 --> 00:22:16.119
brain's gonna be like, yeah, well I'm not finishing the rest.

358
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Why bother because I already know the beginning, So yeah,

359
00:22:19.720 --> 00:22:22.960
checking it in patterns and breaking it down to understand

360
00:22:23.240 --> 00:22:29.119
portions of it, and just instead of looking at it

361
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like a mountain to climb, look at it. As I

362
00:22:32.920 --> 00:22:35.200
mentioned to my students, look at it as like a puzzle.

363
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So you got the puzzle pieces and you know you're

364
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gonna make your shapes on the floor or on the

365
00:22:40.640 --> 00:22:43.359
table to get an idea of where these pieces are

366
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going to go. And so the same concept with the music.

367
00:22:48.279 --> 00:22:51.640
Cheat music. There is patterns in every song. So for

368
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the patterns, break them down and focus into different sections.

369
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Your brain doesn't freak out if you're not starting in

370
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the beginning, right. We're just trained to like play from

371
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the beginning to the end. However, the practice is just

372
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that we're practicing sections. And I don't mean to speak

373
00:23:10.599 --> 00:23:13.759
over you because you have your own teaching techniques. And

374
00:23:14.160 --> 00:23:16.759
that's what makes every teacher special is we bring something

375
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new to the table. We learn from each other. I

376
00:23:19.519 --> 00:23:23.680
agree on from the four teachers you've had that have

377
00:23:23.759 --> 00:23:27.000
inspired you, what are some of the techniques or tips

378
00:23:27.000 --> 00:23:29.839
that you can share with the audience that we have

379
00:23:30.000 --> 00:23:33.200
today that might inspire them to think a little differently

380
00:23:33.240 --> 00:23:35.119
when they sit down at the keyboard or where they

381
00:23:35.119 --> 00:23:37.359
sit down at their instrument and they have sheet music

382
00:23:37.400 --> 00:23:40.160
in front of them. What are some little nickna or

383
00:23:40.200 --> 00:23:43.680
some nuggets that you've learned along the way that you

384
00:23:43.720 --> 00:23:44.279
could share.

385
00:23:44.839 --> 00:23:47.759
This is such an interesting topic. Honestly, I could talk

386
00:23:47.920 --> 00:23:53.200
for hours about how to practice and me too. Right, Yeah,

387
00:23:53.559 --> 00:23:54.079
let's see.

388
00:23:54.160 --> 00:23:56.079
I think that I'm going to interrupt you for a second.

389
00:23:56.200 --> 00:23:58.960
And that's another thing I've learned to teach because I

390
00:23:59.000 --> 00:24:03.119
was not taught how to practice. Practice is so important,

391
00:24:03.200 --> 00:24:05.680
and you know, it's like, Okay, here's the assignment for

392
00:24:05.720 --> 00:24:08.759
the week, see you in seven days. However, you know

393
00:24:09.640 --> 00:24:14.119
then my teachers didn't say, Okay, let's let's create a

394
00:24:14.200 --> 00:24:17.480
practice regiment and an agenda that you can go by.

395
00:24:17.519 --> 00:24:19.799
So when you're home and I'm not there with you,

396
00:24:19.799 --> 00:24:22.119
you know what to practice. You know how to go

397
00:24:22.240 --> 00:24:25.759
about it. And that's so important because you know, it's

398
00:24:25.880 --> 00:24:31.839
like giving I don't know, you understand, it's just structure

399
00:24:32.279 --> 00:24:34.839
your life. When you have an agenda, you can manage

400
00:24:34.839 --> 00:24:37.640
your schedule, you can manage what you're doing when you

401
00:24:37.880 --> 00:24:41.359
have a focused list of what to do.

402
00:24:41.880 --> 00:24:46.799
Yeah, exactly, Yeah, Because if you think about learning any

403
00:24:46.839 --> 00:24:49.759
other skill, if you go to let's say dance classes,

404
00:24:49.880 --> 00:24:52.160
you're going to have the class two or three times

405
00:24:52.200 --> 00:24:55.400
a week with always with a teacher there. You won't

406
00:24:55.680 --> 00:24:58.079
they're not going to give you like, oh, just practice

407
00:24:58.079 --> 00:25:02.279
the whole week by yourself, you know. And in the past,

408
00:25:02.559 --> 00:25:04.839
like maybe this is something that could be brought back

409
00:25:05.519 --> 00:25:08.839
to piano and to music in the past like Moztar

410
00:25:08.960 --> 00:25:14.559
and Chopin and these like great composers and pianists, they

411
00:25:14.599 --> 00:25:17.799
they would have lessons with their students several times a week,

412
00:25:17.880 --> 00:25:23.079
you know. And as for nuggets of.

413
00:25:24.960 --> 00:25:30.240
Tips and tricks, I think I think, like you were

414
00:25:30.519 --> 00:25:34.200
basically saying, the most important thing is to have intention

415
00:25:34.640 --> 00:25:38.759
and be conscious of what you're trying to do right

416
00:25:39.079 --> 00:25:41.799
when you sit down in practice. And for me, I

417
00:25:41.920 --> 00:25:45.039
found this is kind of maybe. I don't know if

418
00:25:45.079 --> 00:25:45.640
anyone else.

419
00:25:46.000 --> 00:25:48.480
I'm sure people do it, but I haven't really talked

420
00:25:48.519 --> 00:25:51.160
to anyone about this. I like to talk to myself

421
00:25:51.160 --> 00:25:52.559
out loud when I practice.

422
00:25:53.039 --> 00:25:54.759
Like it's funny. My family like.

423
00:25:54.960 --> 00:25:58.400
Knows about this because it's almost like it's hard to

424
00:25:58.440 --> 00:26:00.400
focus when you were just silently sitting there.

425
00:26:00.480 --> 00:26:03.119
Everything's going on in your head, right, So for me,

426
00:26:03.160 --> 00:26:04.400
it's I.

427
00:26:04.359 --> 00:26:06.759
Like to be like, okay, so let's try to get

428
00:26:06.799 --> 00:26:09.079
this like I don't know, left hand part, Okay, that

429
00:26:09.200 --> 00:26:11.160
was pretty good. I just felt a little tense here

430
00:26:11.240 --> 00:26:14.960
trying this, so it's like I'm teaching myself and yourself.

431
00:26:15.000 --> 00:26:15.799
That's wonderful.

432
00:26:15.920 --> 00:26:18.720
Yes, yeah, and it keeps me kind of I know

433
00:26:18.759 --> 00:26:20.880
what I'm trying to do. I think too often people

434
00:26:20.920 --> 00:26:23.079
sit down, they don't know what they're trying to do.

435
00:26:23.160 --> 00:26:26.599
They just practice like it feels like I'm practicing. It

436
00:26:26.599 --> 00:26:31.759
feels like I'm playing something. And then another another thing

437
00:26:31.839 --> 00:26:35.880
is I think practice should never be frustrating, or if

438
00:26:35.880 --> 00:26:40.920
it is frustrating, that's normal, but not to keep pushing

439
00:26:41.039 --> 00:26:44.160
it and kind of feeling like you're hitting against a

440
00:26:44.160 --> 00:26:48.440
brick wall. I think, and this is something that it

441
00:26:48.519 --> 00:26:50.920
took a long time for me to realize, Like you

442
00:26:51.000 --> 00:26:53.359
were saying, it does not have to be you do

443
00:26:53.640 --> 00:26:56.000
one piece for three hours and then you move on

444
00:26:56.039 --> 00:26:59.480
to the next piece for three hours. Oftentimes what is better.

445
00:26:59.720 --> 00:27:02.480
And I think this is something that pianas struggle with

446
00:27:02.559 --> 00:27:05.519
because we tend to be maybe more perfectionist types, you know,

447
00:27:05.559 --> 00:27:07.759
we want to do things correctly, We want to get

448
00:27:07.799 --> 00:27:09.599
this done and then get the next thing done. But

449
00:27:10.079 --> 00:27:14.359
sometimes a more spontaneous approach can be very helpful. So

450
00:27:14.559 --> 00:27:16.599
doing a little section and then as soon as you

451
00:27:16.720 --> 00:27:19.480
get something like as soon as it's a little bit better.

452
00:27:19.920 --> 00:27:22.480
Jump to a different piece and work on something completely different.

453
00:27:22.759 --> 00:27:25.960
If you feel tired, jump to another thing. Read, read

454
00:27:26.000 --> 00:27:31.319
something fun like. Always keep it spontaneous, don't limit yourself

455
00:27:31.559 --> 00:27:33.119
like you if.

456
00:27:33.000 --> 00:27:36.359
You're preparing a piece for a teacher for a.

457
00:27:36.440 --> 00:27:38.920
Lesson, don't feel like you can't play anything else for

458
00:27:39.000 --> 00:27:42.039
that week. You can always jump to a song that

459
00:27:42.079 --> 00:27:44.279
you like, pop song that you like and you've always

460
00:27:44.319 --> 00:27:46.119
wanted to learn. Just look at the first line of

461
00:27:46.160 --> 00:27:48.960
it as a little break and then come back. So yeah,

462
00:27:49.000 --> 00:27:52.359
I agree that it's never do it one hundred times

463
00:27:52.359 --> 00:27:56.480
in a row. It's always, first of all, diagnose the problem.

464
00:27:57.200 --> 00:27:59.920
Take it first of all, take very small section. Diagn

465
00:28:00.079 --> 00:28:04.319
knows the problem, come up with solutions, and experiment. Don't

466
00:28:04.359 --> 00:28:07.119
be afraid to try different ways with what your teacher

467
00:28:07.200 --> 00:28:11.279
has told you, what you think, what you've observed, Try

468
00:28:11.279 --> 00:28:15.359
the solutions, find something that seems to work, and then

469
00:28:15.880 --> 00:28:18.480
maybe go through it. I like to do seven times

470
00:28:18.519 --> 00:28:21.119
as like the magic number. Just do it seven times

471
00:28:21.519 --> 00:28:25.359
correctly and then and then leave it. Don't don't keep

472
00:28:25.599 --> 00:28:28.319
you know, pushing something and then and then leave it.

473
00:28:28.359 --> 00:28:30.880
Go to a different spot and come back tomorrow. And

474
00:28:30.920 --> 00:28:34.039
then last thing, if I can say, is like not

475
00:28:34.279 --> 00:28:40.759
to worry if it feels like your progress is like

476
00:28:40.960 --> 00:28:44.559
from day to days is kind of wavering. So for example,

477
00:28:44.599 --> 00:28:48.000
for me, if I am learning a piece I learned

478
00:28:48.079 --> 00:28:51.640
maybe like the first I don't know, some like one

479
00:28:51.640 --> 00:28:53.839
page of it, let's say the next day and it's

480
00:28:53.880 --> 00:28:55.599
it's good. And then next day I come back and

481
00:28:55.640 --> 00:28:57.519
it feels like, oh my gosh, I can't play anymore.

482
00:28:57.799 --> 00:29:00.000
But I think it. It's easy to get frustrated.

483
00:29:00.240 --> 00:29:03.759
I know I would get frustrated by that, but instead

484
00:29:03.799 --> 00:29:07.160
to recognize that's a normal process. Actually, forgetting is good

485
00:29:07.279 --> 00:29:09.720
because as soon as you relearn it, it's gonna stick

486
00:29:10.160 --> 00:29:13.119
much better in your in your brain. That's like kind

487
00:29:13.160 --> 00:29:17.880
of like a psychological thing as well. Let yourself forget

488
00:29:18.119 --> 00:29:21.559
and then and then the effort of bringing it back

489
00:29:22.319 --> 00:29:26.319
is the thing that is strengthening your brain. Same with memorization, right,

490
00:29:26.440 --> 00:29:29.440
and you don't want to look at the music, play it,

491
00:29:29.480 --> 00:29:30.160
and then take.

492
00:29:30.039 --> 00:29:31.279
The music away and play and be like, okay, I

493
00:29:31.279 --> 00:29:33.920
gotta memorize. Actually you have it because you just saw

494
00:29:33.960 --> 00:29:35.000
that you just saw the music.

495
00:29:35.079 --> 00:29:39.519
Instead, don't freak out if you instead test yourself, like

496
00:29:39.599 --> 00:29:42.160
go a day without looking at the music. Try to

497
00:29:42.160 --> 00:29:46.680
play like just cold turkey without the music, and you're

498
00:29:46.680 --> 00:29:48.480
gonna find the sponsor that you need to work on.

499
00:29:48.559 --> 00:29:52.240
And that's okay, Like it's it should be. Whenever you

500
00:29:52.319 --> 00:29:57.599
find something you can improve or something that maybe isn't

501
00:29:57.640 --> 00:29:59.799
going how you want it, to treat it as like

502
00:30:00.160 --> 00:30:02.759
thing to be excited about that here I can discover

503
00:30:02.920 --> 00:30:07.839
something new rather than something that's like like a bad thing,

504
00:30:07.920 --> 00:30:10.839
you know, because I think it's always about the process,

505
00:30:12.039 --> 00:30:16.039
not necessarily the results. It's just the process of discovering

506
00:30:16.079 --> 00:30:18.480
and exploring and stretching your limits.

507
00:30:19.079 --> 00:30:21.839
So yeah, that was I know that's.

508
00:30:21.759 --> 00:30:23.960
Kind of long, but yeah, and it's so true. And

509
00:30:25.160 --> 00:30:28.519
another thing that is so important or in addition to

510
00:30:29.200 --> 00:30:31.799
is I know, for me, when I was growing up

511
00:30:31.839 --> 00:30:35.039
and I was taught how to play and read and

512
00:30:35.759 --> 00:30:40.920
learn or how the lesson would go, it would get

513
00:30:41.039 --> 00:30:44.880
so frustrating and my teacher would be like, no, you

514
00:30:45.000 --> 00:30:50.519
have to learn this. However, being the teacher now, it's like, okay, Well,

515
00:30:50.799 --> 00:30:52.799
if I have a student that's like that, it's like okay,

516
00:30:52.839 --> 00:30:55.200
well let's yes, let's take this. Let's look at this

517
00:30:55.359 --> 00:30:58.559
like a problem or a problem. Solving this Let's not

518
00:30:58.640 --> 00:31:00.920
look at it like a task like you know, we're

519
00:31:00.960 --> 00:31:04.200
taking out the trash, we're we're you know, we're doing

520
00:31:04.240 --> 00:31:06.440
something because we want to learn something. And one of

521
00:31:06.480 --> 00:31:09.599
the greatest things I think I've learned over the years

522
00:31:09.720 --> 00:31:12.680
is that the thing is that frustrate me most, it's

523
00:31:12.759 --> 00:31:16.359
because I don't understand it. So let's break it down.

524
00:31:16.400 --> 00:31:19.839
Let's understand what you're doing, because that is a great

525
00:31:20.279 --> 00:31:23.680
time for you to learn something. Instead of looking at

526
00:31:23.720 --> 00:31:26.440
it like putting the walls up and saying this is

527
00:31:26.519 --> 00:31:28.640
just too much, this is too hard forget, I'm not

528
00:31:28.680 --> 00:31:32.599
gonna learn. Instead of going about it that way, it's like, okay, well,

529
00:31:32.720 --> 00:31:35.680
let's let's play detective. Let's see how we can break

530
00:31:35.680 --> 00:31:39.000
this down and make it easier for us to understand

531
00:31:39.039 --> 00:31:43.200
so that it becomes easy and not difficult. So now

532
00:31:43.279 --> 00:31:45.359
the beauty I've said this, I think I said this

533
00:31:45.440 --> 00:31:47.759
last week in my show The Beauty or one of

534
00:31:47.839 --> 00:31:51.799
my shows in reading music and sheet Music. And I

535
00:31:51.839 --> 00:31:55.279
do say this to my students is that there is

536
00:31:55.440 --> 00:31:59.359
consistency right there is as human beings, no matter what

537
00:31:59.400 --> 00:32:02.359
our ages, no matter what our life is like, we

538
00:32:02.480 --> 00:32:07.440
love expectations. Even though they say don't you know, don't

539
00:32:07.480 --> 00:32:11.759
have expectations for human beings. We kind of do have expectations.

540
00:32:11.880 --> 00:32:14.440
So I think if we're going to have them and

541
00:32:14.480 --> 00:32:18.160
we're going to be musicians, we can really grab those

542
00:32:18.240 --> 00:32:22.880
expectations to know that when we're playing somebody else's music,

543
00:32:23.440 --> 00:32:29.240
we know what to expect because there's a consistency there. Now,

544
00:32:29.759 --> 00:32:33.119
you know, there's a discipline in learning the format and

545
00:32:33.160 --> 00:32:36.799
the consistency of somebody else's work, and then to step

546
00:32:36.839 --> 00:32:40.599
in and do improvisation is something totally different to a

547
00:32:40.640 --> 00:32:44.359
certain degree because you can take once you learn the foundation,

548
00:32:44.519 --> 00:32:47.359
then you can kind of paint the canvas any other

549
00:32:47.599 --> 00:32:54.079
every other color you on around it the foundation. When

550
00:32:54.079 --> 00:32:59.839
you're teaching foundation, do you focus on like scales and

551
00:33:00.039 --> 00:33:03.319
boards and hand and exercise or do you have like

552
00:33:03.880 --> 00:33:06.720
a curriculum a program in mind that you like to

553
00:33:07.400 --> 00:33:11.119
work with when you're teaching your students that come to you.

554
00:33:11.799 --> 00:33:14.839
You know, I don't, of course a five year old

555
00:33:14.960 --> 00:33:17.680
we started the very basics, But do you have something

556
00:33:17.680 --> 00:33:19.839
that you like to stick with when you teach?

557
00:33:20.480 --> 00:33:24.519
To be honest, I'm still figuring it out because this

558
00:33:24.640 --> 00:33:31.240
is basically my first year officially teaching. Like, yeah, but

559
00:33:31.720 --> 00:33:35.359
I think I've been reading a little bit into some

560
00:33:35.640 --> 00:33:39.799
like curriculums. But the way I was taught was kind

561
00:33:39.799 --> 00:33:43.200
of we did like competition. We would prepare for you know,

562
00:33:43.319 --> 00:33:48.359
like the FFMC, the Florida Federation, like they have repertoire

563
00:33:48.480 --> 00:33:49.200
to choose from.

564
00:33:49.240 --> 00:33:51.680
But for the most part, it was kind.

565
00:33:51.519 --> 00:33:56.440
Of my teacher just free form. So I think I

566
00:33:56.720 --> 00:34:00.799
would obviously want to learn more about those, but in

567
00:34:00.880 --> 00:34:03.960
terms of like foundations something.

568
00:34:04.279 --> 00:34:05.319
And I like to reference.

569
00:34:05.400 --> 00:34:07.799
Like I've been thinking a lot about, you know, how

570
00:34:08.000 --> 00:34:11.360
I myself was taught and how I started things like that.

571
00:34:12.280 --> 00:34:16.159
I actually didn't do many technique exercises as a young

572
00:34:17.719 --> 00:34:23.079
As a young student, I learned my technique from my pieces,

573
00:34:23.320 --> 00:34:26.719
and actually recently, because I felt like there are still

574
00:34:26.760 --> 00:34:29.800
parts of my technique that could be improved on, I

575
00:34:29.880 --> 00:34:33.679
went back and started playing hand in journey scales every

576
00:34:33.760 --> 00:34:36.400
day and they've been really, really helpful. So I think

577
00:34:36.400 --> 00:34:40.159
that's definitely something I want to encourage my students to do.

578
00:34:40.679 --> 00:34:43.239
But I think it's the most important thing with those

579
00:34:44.400 --> 00:34:47.199
is to is how you do them, not just like

580
00:34:47.239 --> 00:34:49.880
it's not enough just to play through like get the

581
00:34:49.920 --> 00:34:53.360
notes down, you know, but rather like use those as

582
00:34:53.360 --> 00:34:55.679
a tool to show them like how to use your arm,

583
00:34:55.760 --> 00:35:01.920
how to use your fingers, how to important your exactly. Yeah,

584
00:35:02.000 --> 00:35:07.119
so I think maybe there's like many ways that you

585
00:35:07.159 --> 00:35:11.039
can do it, but like ultimately, like, yeah, to be

586
00:35:11.199 --> 00:35:14.280
precise with what you're trying to show them rather than

587
00:35:14.360 --> 00:35:18.599
just assigning. Oh just do like the hand in one,

588
00:35:18.679 --> 00:35:20.880
you know, but like to be precise, okay, hand in

589
00:35:20.960 --> 00:35:23.000
number one. What are we trying to work on with

590
00:35:23.079 --> 00:35:25.559
this scale or with this exercise?

591
00:35:26.400 --> 00:35:29.559
And it doesn't have to be that way. I've said

592
00:35:29.559 --> 00:35:32.400
to some of my students that have had other teachers before,

593
00:35:32.760 --> 00:35:36.159
like every teacher is special. Every teacher brings something to

594
00:35:36.199 --> 00:35:39.840
the table. So you know, there's no really wrong or right.

595
00:35:41.079 --> 00:35:43.320
It's just kind of take it all in and what

596
00:35:44.320 --> 00:35:47.519
aligns with the student or what the student can understand

597
00:35:47.519 --> 00:35:52.000
and grow with. And there's no like like the way

598
00:35:52.039 --> 00:35:53.960
I teach might not be the same way you teach,

599
00:35:54.000 --> 00:35:58.480
but that it's okay, Yeah, exactly, it's okay. I want

600
00:35:58.559 --> 00:36:01.599
to I have a big audience out there, and a

601
00:36:01.639 --> 00:36:04.800
lot of my audience loves to hear me improvise and

602
00:36:04.840 --> 00:36:08.360
play a little bit. So it is a Monday, I

603
00:36:08.400 --> 00:36:11.480
do want to play a little something just because people

604
00:36:12.559 --> 00:36:15.880
including me, like to relax to the music I play.

605
00:36:16.519 --> 00:36:19.800
And when we get back, like in a couple of minutes,

606
00:36:20.119 --> 00:36:22.320
you'll still be here. I'll still be here. I want

607
00:36:22.360 --> 00:36:26.039
to talk a little bit about your competition and the

608
00:36:26.119 --> 00:36:30.039
FFA if I said that right, a little bit about

609
00:36:30.079 --> 00:36:33.440
your experience for listeners out there that might want to

610
00:36:33.480 --> 00:36:37.760
step in that direction. But I'm gonna so hold that thought.

611
00:36:38.119 --> 00:36:40.400
I'm going to play for a couple of minutes. If

612
00:36:40.639 --> 00:36:44.760
for my audience is out there, if you're driving, enjoy,

613
00:36:45.239 --> 00:36:47.719
do not close your eyes. But if you're home or

614
00:36:47.719 --> 00:36:49.719
in a place, in a space where you can relax,

615
00:36:49.800 --> 00:36:54.480
sit back, close your eyes, do so. And I don't

616
00:36:54.480 --> 00:36:56.599
have sheet music. I just kind of play what I

617
00:36:56.679 --> 00:37:01.440
feel I channel in the energy that I'm picking up

618
00:37:01.480 --> 00:37:04.800
for my audiences as well as in my home studio. Here.

619
00:37:05.039 --> 00:38:28.280
So show your name, Many.

620
00:38:31.599 --> 00:38:59.400
Lady, many company, the man man.

621
00:39:19.639 --> 00:39:24.719
That was a Monday something that's so pretty Thank you,

622
00:39:25.000 --> 00:39:27.480
thank you. So it's just stuff for my listeners out there.

623
00:39:27.920 --> 00:39:30.400
I hope you enjoyed that I used to play. I

624
00:39:30.400 --> 00:39:33.320
don't know, we haven't spoken much, Madison. I used to

625
00:39:33.800 --> 00:39:36.760
play consecutively for several years. I used to have online

626
00:39:36.800 --> 00:39:39.320
shows and do that for a couple hours every week,

627
00:39:39.360 --> 00:39:41.800
and I miss doing that because my schedule has changed.

628
00:39:42.199 --> 00:39:44.679
But I get to do that a little bit here.

629
00:39:44.840 --> 00:39:48.440
So so thanks for being a part of my live

630
00:39:48.559 --> 00:39:54.679
audience as well. The question I had for you was

631
00:39:54.920 --> 00:39:58.199
that you have played in competitions. How has that experience

632
00:39:58.239 --> 00:39:58.760
been for you?

633
00:39:59.199 --> 00:39:59.679
Yeah, so.

634
00:40:01.159 --> 00:40:04.599
I escaped you as a musician as a teacher.

635
00:40:05.719 --> 00:40:09.239
Good question. So I've been competing.

636
00:40:09.320 --> 00:40:12.880
I think most of my kind of piano life since

637
00:40:13.239 --> 00:40:18.440
maybe I was eight, started with like local competitions, and

638
00:40:18.480 --> 00:40:22.320
then most recently, I had the honor of being in the.

639
00:40:22.159 --> 00:40:27.639
National hip competition in Miami. Congratulations, and I.

640
00:40:27.679 --> 00:40:30.320
Made it to the semi finals, which is I was

641
00:40:30.360 --> 00:40:33.360
already happy to be there, so yeah, I was. Yeah,

642
00:40:33.480 --> 00:40:37.840
that was a really great moment for me. I've also

643
00:40:38.360 --> 00:40:44.159
competed in Japan and around the US. For me, I

644
00:40:44.199 --> 00:40:49.199
think sometimes there's a sort of or at least recently,

645
00:40:49.280 --> 00:40:52.400
I've been like thinking about I've stopped competing for a

646
00:40:52.440 --> 00:40:53.960
few months just so I can.

647
00:40:53.920 --> 00:40:55.000
Focus on repertoire.

648
00:40:55.039 --> 00:41:01.159
I think after the big competition I needed some time to, like, yeah,

649
00:41:01.280 --> 00:41:07.440
to reassess my career. Okay, and then but in terms

650
00:41:07.440 --> 00:41:12.000
of how or my relationship to competitions, I think most

651
00:41:12.440 --> 00:41:15.199
musicians kind of feel the same way that you know,

652
00:41:15.280 --> 00:41:17.880
at the end of the day, like it's sort of

653
00:41:17.960 --> 00:41:20.519
unnatural for us to be pit against each other in

654
00:41:20.559 --> 00:41:25.280
these competitions, you know. But on the other hand, I

655
00:41:25.320 --> 00:41:30.239
think my parents have always given me a very like

656
00:41:30.480 --> 00:41:34.639
positive and growth mindset towards competing. They've never pressured me

657
00:41:34.800 --> 00:41:38.039
to when they never focused on the results, so they've

658
00:41:38.079 --> 00:41:40.239
always said, just to your best, like this is just

659
00:41:40.320 --> 00:41:43.159
a learning experience for you, and then whatever happens happens,

660
00:41:43.159 --> 00:41:44.039
and they're always.

661
00:41:43.800 --> 00:41:45.199
Happy no matter what.

662
00:41:45.559 --> 00:41:48.960
So I think that was really helpful for me, and

663
00:41:49.039 --> 00:41:53.719
that gave me more positive like view on competitions. And

664
00:41:54.000 --> 00:41:59.679
I think nowadays, at least for classical like if you

665
00:41:59.719 --> 00:42:04.599
want to be if you want to have a concert career,

666
00:42:04.679 --> 00:42:07.440
I think competitions is kind of like the main way

667
00:42:07.559 --> 00:42:10.960
that people do that for better or for worse.

668
00:42:11.599 --> 00:42:14.480
So that's why I'm doing them.

669
00:42:14.559 --> 00:42:20.039
But also I think having like a deadline per se

670
00:42:20.239 --> 00:42:26.000
or something to work towards with your repertoire is like

671
00:42:26.039 --> 00:42:28.880
it helps me a lot to keep me structured sometimes,

672
00:42:28.920 --> 00:42:31.440
like it sounds nice to have a lot of time

673
00:42:31.519 --> 00:42:34.880
to work on stuff, but it's also nice to be

674
00:42:34.920 --> 00:42:38.320
able to perform in front of people, and competitions are

675
00:42:38.320 --> 00:42:40.880
a great way to do that. So uh yeah, So

676
00:42:41.159 --> 00:42:43.159
it can be like a source of pressure for me,

677
00:42:43.239 --> 00:42:47.639
but I'm very grateful for like all the experiences I had,

678
00:42:47.760 --> 00:42:52.039
and ultimately I think they really helped me grow and

679
00:42:52.360 --> 00:42:54.880
push me outside my comfort zone a little bit, but

680
00:42:55.119 --> 00:42:56.679
always in like a positive way.

681
00:42:56.840 --> 00:43:01.119
So awesome, awesome, And what what do you feel?

682
00:43:01.639 --> 00:43:03.519
Is what?

683
00:43:04.559 --> 00:43:09.920
See? I don't everybody is different. I don't know. Everybody

684
00:43:09.960 --> 00:43:15.079
has a passion that that is heartfelt and a mission

685
00:43:15.119 --> 00:43:19.440
that we we are on. And I so admire you

686
00:43:19.480 --> 00:43:24.159
at twenty two years old with so much talent. What

687
00:43:24.159 --> 00:43:31.719
what drives you to want to continue to compete? We

688
00:43:31.840 --> 00:43:33.480
have to we actually have to make it short because

689
00:43:33.480 --> 00:43:35.800
I have one more question than because we're getting close

690
00:43:35.840 --> 00:43:40.000
to the too.

691
00:43:40.079 --> 00:43:42.639
Okay, very deep question.

692
00:43:44.360 --> 00:43:47.599
I think for me, like my ultimate goal with music,

693
00:43:48.079 --> 00:43:52.880
And I've thought about this a lot. It's about I

694
00:43:52.920 --> 00:43:58.199
think competitions and things can be external, you know, but

695
00:43:58.199 --> 00:44:00.679
but coming back, it's always coming back to myself. Like

696
00:44:01.159 --> 00:44:04.519
this music that I've listened to since I was a baby,

697
00:44:04.559 --> 00:44:06.880
you know that has always touched me and given me

698
00:44:06.960 --> 00:44:12.679
this in your world and in like my loniest loneliest times,

699
00:44:12.719 --> 00:44:14.519
my darkest times, that they are there.

700
00:44:14.840 --> 00:44:15.920
The music is there for me.

701
00:44:17.559 --> 00:44:21.159
It can express things that like it's so difficult to

702
00:44:21.159 --> 00:44:23.599
put into words, all these things that I'm sure everyone

703
00:44:23.719 --> 00:44:27.679
feels when they listen to music that touches them. Ultimately,

704
00:44:27.719 --> 00:44:30.880
that's like what keeps me, bringing me back, and then

705
00:44:30.960 --> 00:44:35.679
competitions and career that's external, Like it's great I want

706
00:44:35.719 --> 00:44:36.000
to do.

707
00:44:36.559 --> 00:44:37.840
I want to always get better.

708
00:44:37.960 --> 00:44:40.199
I think, like you said, music is a language, and

709
00:44:40.639 --> 00:44:42.880
if I am to learn this language, I would want

710
00:44:42.920 --> 00:44:45.920
to become fluent in it and be able to express

711
00:44:45.920 --> 00:44:49.719
myself with it. So that's ultimately, I'm just I want

712
00:44:49.800 --> 00:44:53.320
to be better at piano, better at expressing myself through

713
00:44:53.360 --> 00:44:58.000
the piano, and always returning to like my own connection,

714
00:44:58.199 --> 00:45:01.079
my personal connection to the music, not think too hard

715
00:45:01.119 --> 00:45:04.840
about things like success outside success achievements.

716
00:45:05.159 --> 00:45:06.480
Yeah, I love it.

717
00:45:06.559 --> 00:45:08.599
I love that, and it's so true. I mean, I

718
00:45:08.719 --> 00:45:12.599
continue to learn so much, and I'm probably twice your age,

719
00:45:12.679 --> 00:45:16.199
and I continue to constantly grow and learn, and it's

720
00:45:16.199 --> 00:45:19.280
like I can never learn enough. And as a musician,

721
00:45:19.559 --> 00:45:21.840
as I mentioned, earlier, like you never get to that

722
00:45:21.880 --> 00:45:27.119
plateau of like, okay, I'm going moving on. That's the

723
00:45:27.159 --> 00:45:29.800
beauty of being a musician is that you never like

724
00:45:29.840 --> 00:45:32.639
you know, you're building a shelf with a hammer and nails. Okay, great,

725
00:45:32.679 --> 00:45:35.119
it's built. We can put the books on. Okay, it's there.

726
00:45:36.119 --> 00:45:39.440
Music is not that way. Music is always evolving. And

727
00:45:39.519 --> 00:45:42.519
then the beauty of it is that it's energy and

728
00:45:42.639 --> 00:45:47.199
vibration of sound, and we as human beings, we don't

729
00:45:47.239 --> 00:45:50.920
realize how important that vibration is to our human soul

730
00:45:51.360 --> 00:45:55.119
as we grow and how as we evolve, the music

731
00:45:55.159 --> 00:45:59.159
evolves with us because we're always we're always expressing more

732
00:45:59.320 --> 00:46:02.519
or we're having a different way to express ourselves. So

733
00:46:02.599 --> 00:46:06.159
thank you so much, Madison, Madison Yan. If you're watching this,

734
00:46:06.880 --> 00:46:09.559
your your name is on the screen, if you're listening,

735
00:46:10.480 --> 00:46:13.599
as you mentioned, you can be found on Facebook or

736
00:46:13.679 --> 00:46:18.880
Instagram Madison yon y a n And you teach as well,

737
00:46:19.079 --> 00:46:22.559
and so best to luck to you and all that

738
00:46:22.599 --> 00:46:27.320
you do. And I look forward to maybe hearing you

739
00:46:27.400 --> 00:46:31.039
play again and and keeping in touch with you.

740
00:46:31.239 --> 00:46:33.960
Let's let's you know, yeah, let's keep in touch.

741
00:46:34.519 --> 00:46:37.159
Yes, let's keep in touch. We have we're like minded.

742
00:46:37.199 --> 00:46:40.119
We have so much to understand each other about, and

743
00:46:40.480 --> 00:46:42.360
I do look forward to keeping in touch with you.

744
00:46:42.440 --> 00:46:43.360
Thank you, Madison.

745
00:46:43.880 --> 00:46:46.360
Thank you so much, Lisa. This felt very short. I

746
00:46:46.360 --> 00:46:47.559
would love to keep talking.

747
00:46:48.639 --> 00:46:50.920
Well, we can do this again. I would love to

748
00:46:50.960 --> 00:46:53.840
have you on again and we can talk about this

749
00:46:54.039 --> 00:46:56.480
even further because there's so much to teach. There's so

750
00:46:56.559 --> 00:46:57.280
much to learn.

751
00:46:57.840 --> 00:47:00.800
Yeah, and that's that's the fun part, right.

752
00:47:00.440 --> 00:47:05.199
Yes, absolutely so. For my listeners and viewers out here,

753
00:47:05.280 --> 00:47:08.480
thank you so much for tuning in today. Tune in

754
00:47:08.559 --> 00:47:11.159
next week. I have a very special guest next week

755
00:47:11.199 --> 00:47:14.880
that will be with me and I'm not going to

756
00:47:14.920 --> 00:47:19.280
say who it is, but I just love doing this show.

757
00:47:19.400 --> 00:47:23.079
I love all my guests, and every one of you

758
00:47:23.639 --> 00:47:26.800
that are that are on my show are very special

759
00:47:26.800 --> 00:47:29.639
to me, and I feel that we have a great

760
00:47:29.679 --> 00:47:33.199
connection and I'm so happy to shine the light on you.

761
00:47:33.320 --> 00:47:36.199
Thank you so much for tuning in today. I look

762
00:47:36.239 --> 00:47:39.079
forward to tuning or having you tune in next week.

763
00:47:39.360 --> 00:47:39.679
Thank you,