I think I was born with desire to be a teacher.
By the end of college, I knew I wanted to be a teacher.
It's my life.
I can't even say it's my job because I don't think there is a time in my day when I don't
think about music or my students or teaching young children, preschool ages.
They don't get things from explanations or demonstrations.
Only through analogies, through images, through stories, through artwork.
They need to see, they need to hear, they need to imagine, and they need to feel or
experience.
In my books, these stories, the songs, they all work for developing students' imagination
and making them active participants in the lessons rather than passive observers.
So they participate, they want to experiment, they want to try.
Hello piano enthusiasts!
Welcome back to the PianoPod with me, Yukimi Song.
Today we are diving deeper into the second installment of this season's 16th episode
with Irina Gorin, the visionary behind the Tales of a Musical Journey Method Book series
and founder of the Gorin Institute.
In case you missed part one of this inspiring episode exploring her acclaimed method books
for young beginners, enriched with storytelling and vibrant imagery, don't worry, you can
catch up on all the excitement on your favorite podcasting platform right now.
A warm welcome to all our new listeners.
This podcast is your all-access pass to the captivating world of piano.
In each episode of the PianoPod, I interview a guest speaker who has been breaking exciting
new ground in the industry.
Please rate the show and review it on your favorite podcasting platform because every
rating review will help people find my show.
And as for our faithful listeners, I want to extend my heartfelt gratitude for your
loyal listenership.
Since 2020, we've been exploring how to make classical music resonate in fresh ways
with today's audience.
To keep bringing you these episodes, my show relies on your support.
Every contribution aids in covering essential podcasting expenses, so click the PayPal link
in the show notes or visit thepianopod.com to donate.
I will personally mail you the PianoPod's logo sticker as a token of gratitude.
So my friends, here is part two of the PianoPod Season 4, Episode 16 featuring Irina Gorin.
Please enjoy the show.
So, I mean, I have a lot more questions with the piano technique, but that's another time.
I think you have to come back and we just need to focus on one topic at a time, I think,
because you're so resourceful.
But I'd like to know who Ms. Irina Gorin is.
So basically, you know, explain that you're originally from Ukraine.
That's where the training happened.
But by whom were you influenced to become a teacher today?
You know, I think I was born with desire to be a teacher.
Even when I was five, six year old, I remember myself playing school with my friends, having
a journal, putting grades to imaginable students.
My mom was a teacher.
She was teaching Russian language and literature in school.
She was an amazing storyteller.
She introduced me to all the writers and painters and explained how painting and literature
work together.
While my father was a ballet dancer.
And I practically was born in the theater, almost.
So I used to watch all the performances, ballet and opera.
We had a theater in Kiev and my father was one of the leading dancers.
So I was raised in very cultural family.
My older sister took piano lessons.
So she's 10 years older.
So when I was born, she was already quite advanced in piano playing.
So I remember myself falling asleep and we lived in such small apartments.
Piano was in my bedroom.
I remember falling asleep with the sounds of Greek sonata, which was very hard to fall
asleep.
Wow.
I hope you had a good dream.
So I had all this music sounding all the time in my head.
But I also loved young kids, little kids.
I loved to babysit.
And when I went to college, of course, I was very ambitious to become a pianist.
But with time, I realized that being on stage is not my passion.
Especially by myself.
I loved accompaniment.
I accompanied singers and other instrumentalists and choirs.
I loved it.
Not solo performance.
But by the end of college, I knew I wanted to be a teacher.
Again, I dreamed of being a teacher in my head.
I was such a great teacher that kids would love to practice.
It will all destroyed in one day.
But yeah, it's my life.
I can't even say it's my job.
It's practically my life.
Because I don't think there is a time in my day when I don't think about music or my students
or teaching.
Of course, I have family.
And of course, I want to spend time with my own children and talk to them.
But between that, I live by music and teaching.
Oh, wow.
Yeah, I'm sorry for what's happening in Ukraine right now.
It must be so heartbreaking.
But in many ways, you grew up in cultural balanced life.
Yes.
Yeah, that's beautiful.
And you know, as this country, United States, as rich as it is, to go to the concert hall
is actually like you kind of have to make an effort to get go.
You know, it's not quite surrounded by it.
Although I live in New York City, but it's an effort, right?
And even like when I tried to encourage my students.
And a lot of money.
Oh, definitely.
When I was in Ukraine, I can't even remember the weekends that my parents wouldn't take
me either to museum or theater or concert hall.
It was kind of like a routine.
Very inexpensive.
And it was we have it's just our life.
Yeah.
Wow.
So many theaters.
I even found we probably had several drama theaters, opera and ballet theater, opera and
ballet for children's theater where my father worked late years of his life.
And we probably had 10 or 15 orchestras.
And we have musical comedy theater where my husband worked in.
So yeah, it was the way of life.
I know you're influencing a lot of millions of people out there.
You yourself even can't imagine how many people are impacted through your methods, through
your videos.
So the Gorin Institute.
So can you provide an overview of the mission and goals of the Institute?
Who is this for?
What educational programs or courses this Institute offer to support professionals?
Absolutely.
It's another interesting story, which I never thought would happen.
I didn't have any idea.
If you ask me if I thought it would happen five years ago, I would say never.
But the circumstances, the life just happened.
It just happened.
So since more people started watching my videos with Tales of a Musical Journey, they started
asking questions.
And of course, it's really hard to answer all the questions through like a comment or
even email.
And I started visiting.
I was invited to give short presentations and workshops in different universities.
Then I started organizing workshops in my own town, Carmel.
I had lots of teachers coming.
I was invited to work for a week in Boston in music school at piano camp and gave workshops.
So I had maybe five, six big workshops per year.
But in 2017, I was contacted by a musician originally from Austria, Patrick Lechner,
who invited me to come to International Week to China.
Their university was organizing this International Week, where they would invite people with
workshops, with master classes.
And even though it was very scary for me, first of all, to travel alone, not knowing
anything about the country, never been there before.
But as my husband says, I was very brave and went.
And it changed my life.
I'm so happy it did because it's completely changed my life.
While being there, I was invited to 10 different cities with workshops.
And the amount of attending, the number of people attending was mind blowing.
And at the same time, I was invited to work in the university.
And next year, my whole family moved to China.
Not the whole family, my youngest daughter, my husband and I moved to China for me being
able to work at the university and continue doing those workshops.
Really?
So you're moving away from the United States?
Yes.
I lived for three years in China.
Oh my goodness.
Yes.
I met amazing people, amazing teachers.
I'm still friends with so many of them.
I loved it.
Just loved it.
And then COVID happened.
It happened while winter break when my family came back for four weeks and we never were
able to go back to China.
I still taught for two more years at university until my contract ended.
And then I didn't renew it because I don't feel teaching online was fulfilling for me
or very helpful for students.
And I finished my contract.
But when I came here, teachers, when COVID happened, everyone was a little bit at despair.
What to do?
We couldn't teach.
Teaching online was terrible, especially the early days.
And people just started asking me, why don't you organize some kind of workshops but online?
And that's how I started learning about Zoom and about all these online things.
And I organized the first mock-up of courses.
And in the very first time I announced it, 250 people signed up.
And as I did it for the first three months, I realized that that type of workshop has
a lot of advantages.
First of all, people don't have to travel.
They can watch the recording at their own time.
They don't have to sacrifice their schedule, their time with children or families, their
students to be at the session.
And also, they always get a front row seat.
Because when you have 200 people in the room and you try to show something at the piano,
only a few people can actually see it.
But when I do it and I have my side camera next to me and I can show everything and they
can do it on their side and I can give them a feedback, it made all the sense.
And after I did it once, they said, we don't want to stop.
You have to continue.
And for the first three years, I worked on creating a really deep, comprehensive curriculum
for piano teachers.
Starting from the first year of lessons, going step by step through every technique, through
every activity, having them practice it, send me videos.
We actually have, for each level, we have a private Facebook group where teachers post
their videos of doing that.
And I comment and other more experienced teachers comment.
Now I have teachers who are in their fifth year of these courses.
And in my helpers, and they have with new participants.
And I have teachers from 19 year old up to 70 something years old.
I have one teacher who's 85 from New Zealand.
Especially for those who are far away, I have a lot of teachers from Singapore, from Taiwan,
from Japan, from Europe, many teachers, Australia.
I just...
That's incredible.
Well, Irina, that speaks a volume about you.
Continues growing.
I try to update the materials a little bit.
And every month we have with each level, we have a live Q&A, just like we have with you.
When they ask me questions, they can show their students videos.
I can pinpoint what they need to work more or what's the actual cause of the challenges
and how they need to change.
So we do a book club where we read together some very important books.
And we created such a great community of teachers from around the world.
We are best friends.
I had teachers from courses coming to Carmel just to see me.
We spent several days together.
So it's amazing.
And I don't have really employees.
The Gorin Institute is basically me.
But again, through the courses, I have several teachers who are helping me.
They also participate in the courses.
And for example, I already mentioned Juliana from Colombia, who was the first translator
to Spanish.
She has two music schools.
She is director of two music schools in Colombia.
Now she trains all her teachers with tales.
So that way, I would say the word Institute works when teachers grow, understand, and
start training other teachers.
So far, we have explored the rich insights of Irina's teaching philosophy and some
practical tips.
Let's now see her impact in action.
Joining us in the next segment is Willette Neymeyer, a veteran piano teacher and music
studio owner from Saskatoon, Canada, and a proud graduate of the Gorin Institute.
She will share her personal experiences and the profound influence Irina's methods have
had on her teaching career.
All right.
So thank you for joining us, Willette.
The reason for including you to this episode is your affiliation as one of the many graduates
of the Gorin Institute and your advocacy for Irina's methodology, along with your usage
of her musical journey series.
And I'm so excited to get to hear about how Irina's method books and methodologies and
courses at the Gorin Institute have truly transformed and revolutionized your approach
to piano teaching and impacted your students.
So tell us about your current status as a piano teacher.
Well, I've always been a part-time piano teacher.
I worked in the school system as a home economics teacher, but I never wanted to drop teaching
music students.
I've always loved it.
And I started when I was 19.
I had my ARCT level from, that's in Canada, for teaching.
And I've always maintained a small studio.
So I have a lot of experience, but always with a small group.
I never had to deal with burnout of big groups.
The largest studio I ever had was 28 students, but when I was working full-time outside the
home, I had three to six students on average in a week because I would just work a couple
of evenings a week.
So that prevented a lot of burnout.
It was just a wonderful, uplifting thing to do in the middle of the rest of my life.
My training is from the Victoria Conservatory of Music.
I had some really wonderful teachers there.
I had some pedagogical training there for two years, and it always served me well.
But I always felt I was missing something.
There was something more that I just couldn't grasp.
It wasn't part of my training.
And that's when I discovered ARENA.
Okay.
But before we get into the challenging part, how many courses did you take?
Did you do them all?
ARENA started during COVID.
And she has four levels at the moment.
And the fourth level, I'm in it for the second year running because we created together.
We decide what we wish to explore and learn.
We set the subject matter.
We can post videos of things we are learning ourselves or our students, and we're teaching
our students advice.
And it isn't just ARENA that helps us.
It's the whole group.
We have this amalgamation of these incredible teachers from around the world who gather.
And we're like hive mind.
We contribute all these ideas.
It's a wonderful growth opportunity because as most piano teachers know, it can be a very
isolating experience.
So during COVID, when we were so isolated, her course saved us.
Her course saved us.
We made friends from all over the world and we were there once a week online working hard
and learning so much.
Wow.
So let's get into how ARENA's methodology at the Groin Institute impacted your piano
teaching journey and changed the course of your teaching career.
So where were you as a piano teacher before meeting ARENA or before discovering her methods?
I've always enjoyed teaching.
I didn't feel stuck, but I felt I was missing something, that it was limiting.
I was doing a good job, but I knew there was more.
And then as I discovered her name came up through YouTube and everything, I was watching
how she was working with these very young children, four years old, and I knew I would
never dare to work with a four-year-old.
And I just didn't know how.
I didn't have the tools for it.
And the freedom and the emotional maturity with which they played was astonishing to
me.
And I wanted that for my students.
I just wanted to be a teacher that could do that for my students.
So when COVID came and she was offering this course, this online course, I wrestled with
it a bit.
I wondered, well, am I going to do this?
Am I going to pay for this and do this?
And my rationale for it was, if I even get two really good ideas that will help my students
in the future, this will be worth it.
And I had to laugh at myself because after the first session, I had written down 17 tools
I could immediately apply to my teaching that I use to this day.
Each one of the times we get together are packed full of ideas and different approaches
and wisdom and encouragement, incredible encouragement.
You no longer feel alone as a music teacher.
And so how has it changed my teaching?
I would definitely feel comfortable teaching young ones now.
I will never teach a five finger approach again.
I love her non-legato approach to playing and starting with the third finger.
It has allowed my students to develop a natural handshape, free their wrists, their arm weight,
and they're learning to really listen to their sound, not just the middle of the sound.
They're learning to listen to the edge, the first edge of the sound and the last edge
of the sound, like to train their ears to really listen.
And what I love about her methodology is the quality of the music.
They are short pieces for quite a while.
So students get a lot of repertoire.
They're learning a lot of music because it's short and they learn it quickly.
Only two lessons, sometimes three lessons.
And it's so pedagogically rich, all of the items she's picked.
And they're so carefully scaffolded that, you know, the whole first book is non-legato.
And it's quality music.
They have duets with it or you can have recorded accompaniments with it.
Students love it, such variety.
And it really trains my students for classical music.
It is so rich emotionally and it uses the whole imagination landscape of a child.
So they are expressing a picture with their sound rather than just playing notes and feeling
a rhythm.
And so for me, it's just such a rich musical start for these young children.
And I haven't found any other North American music methods that use this approach.
Before I started with the arenas course, I was using Music Tree, which I loved for the
way it taught students to read music.
It stayed out of positions and they, but it got into legato far too soon.
So yeah, this is just a much, much better beginning for my students.
And they're just more involved.
I see more enthusiasm.
It's just a more enriching way to teach.
Hard to describe, but when you see the sparkle in your students eyes or they start chuckling
with you because they're sad kitten did not sound very sad.
It sounded mad, you know, and then they changed their whole body posture and their whole approach
to the sound.
And suddenly they've got this very sad kitten in this piece and it's just remarkable to
see it.
Wow.
Now you just told us like specific things that changed the way you approach teaching
young children, but overall what stands out by, you know, taking her classes courses and
that are different from others.
She's a master pedagogue and I never got taught polyphony the way she teaches it.
So the things in the Baroque era I'm looking at in a completely different way, teaching
them in a completely different way.
It's all about quality of sound, efficiency of movement, tension and release.
It's just become so refined.
It becomes very detailed as we progress further in the course.
So it has changed my own playing and I can help like I get transfer students.
It's rare for me to get a student because I have such a small studio to get a student
right from the beginning.
I've only had one student since I've taken the course that I could start right from the
beginning.
But I transfer those skills and I use some of her slightly later level books with my
transfer students so they get to review.
And it's usually about hand alignment and gathering the hand into a more natural position.
Those are some of the things that I often have to remediate as well as they're usually
terrible at reading or they're not following the fingering or they use the fingering to
read the notes and that doesn't work in her method because when you move from a one to
a two, you're not moving a second.
You might be moving to a third.
And so they have to start to have to read the notes and they become very detailed.
They start paying attention to slurs, ends of slurs and how do you finish a phrase?
What is the sound you want?
They start noticing when you're bumping a phrase.
So it's all this refinement.
So sounds like it's an ideal way of approaching young children teaching classical piano playing,
but not in a strict way.
Oh no.
Irina is so gentle and loving with her students.
She never accepts students based on talent.
She will accept any student if they have the proper family support.
If they have a proper piano, they're willing to help the young child practice this sort
of thing.
They take on transfer students as well as long as they're really keen to be there, she
will teach them.
And she is so kind and she encourages all of us to be kind and respectful because we
have to understand when a child is struggling or possibly even misbehaving, what is really
going on with that child?
And it always, always comes from a place of respect.
There's also authority there.
Wow.
That's like a really ideal character as a teacher, right?
So tell us about Irina Gordon herself.
What qualities, you mentioned a little bit about characters, does she possess that make
her an exceptional person and mentor to you?
She is very, very humble.
She is open to discussion on anything.
She is incredibly generous with her time and her knowledge.
I often find music teachers are very territorial and they want to hold their information close
to their chest and they want their studio to excel and they've got students competing.
And she is about helping everybody bloom.
And she wants to help teachers who can help them, those students.
Her goal with teaching music is to create more empathic human beings who love music
and who are self-expressive.
That's her goal.
And it really hurts her to see children struggling with tight hands and claws and sitting improperly
and banging the piano and very percussive sound.
She knows what children are capable of.
So her generosity stands out, her kindness, her respectfulness.
And she has this amazing ability to zero in on the one thing that will make the most impact
in someone's playing.
And I was lucky enough to visit her.
She just welcomes us with open arms.
We went to visit and she gives me some lessons.
And in the hour and a half, I was playing Bach and Debussy and Mendelssohn and every
piece that I played for her, she would find two or three things that were so impactful
that would raise it to the next level.
It was remarkable.
You also get to take piano lessons from her.
Well, I did.
I did.
I went to see her around one summer for a few days and learned from her and watched
her teach.
And you are able to have Zoom lessons with her online if you wish.
I've only done one of those.
It was very, very helpful.
But yeah, no, she's so generous with her time.
And again, humble.
I can't recommend the course enough.
If there are piano teachers out there who are feeling stale or stagnant or struggling,
saying how do I deal with certain issues, if they even just take the first level, it
will solve so many issues for all the future years of their beginner students.
It is such dense, rich material that is easily applied.
It's a huge learning curve, but it is so worth it.
It will make their lessons so much more joyous and involving.
They will get far better results with their students, greater involvement with their students.
I can't recommend it enough.
I think people hesitate sometimes because they don't want to pay and the courses are
priced very reasonably.
We can't believe what we get for the money.
Or they just feel like they can't keep up.
Their lives are so busy.
They can't keep up with the course.
But everybody that's joined, some of them say, yes, I can't keep up, but this is so
good.
And everybody says they've just never encountered such a worthwhile course before in their lives.
Bulet, thank you again for joining this testimonial segment of Irina's episode.
Now, what are the common struggles and challenges or sometimes this misunderstanding you see
from teachers?
Very individual.
Some teachers are just tired to be not happy with the results they see in their students.
Some teachers are just curious.
Some teachers struggle with certain techniques and they see how easy, for example, my students
do that.
They want to learn.
It's really hard to pinpoint.
Everybody has their own reasons.
Some teachers started using tales, books, and they don't understand the real background,
so they want to learn it, even though they see results, but they wanted to go in depth.
A lot of teachers, actually.
Those who started, who found tales first, then they found my courses and they joined
them.
So where can we sign up your course?
So there is a website called thegoreninstitute.com and there are all the levels teachers can
sign up any time to any level they want because some teachers might feel comfortable with
beginners, but for example, in level two, our main focus are techniques such as scales,
etudes, some technical skills as alberti bass, choosing the repertoire, the process of working
on musical composition, supplemental repertoire, pedagogical analysis, starting to learn polyphony.
Every course has 20 sessions and 10 Q&As.
And level three is more advanced.
We work on cenatinas and other larger forms.
We work on little preludes by Bach, inventions and symphonies.
And we work on romanticism in music.
We work on Schumann's album for the young, Mike Apar, some other composers.
So every level is a little bit like, they are, I would say the most useful would be
to go through all of them.
But if teachers don't want to spend the whole year, even though I offer intensive options
or if they pay for the whole course, they can watch in one sitting everything and go
to next level.
I think it's helpful, but it's not mandatory.
I see.
Okay.
They can go in level two or level three, then go to level one.
The only thing I have level four, which we call alumni level.
And that's where teachers who went through all my courses can join.
And that's where they have lots of benefits, like having free access to all the videos,
to all the Q&As, being able to attend all the Q&As of our levels.
But it's like a cherry on the top.
You have to go through levels to be able to join.
Wow.
I have like 50 teachers in the alumni level.
Amazing.
Wow.
That's so fantastic.
So that's the goreinstitute.com, right?
Yes.
Okay, great.
Now, I know I have so many more questions, but it's almost, you know, toward the end
of our conversation.
So I have one thing that from our audience that who asked me to ask you, how should we
as piano teachers enlist parents in facilitating regular practice for young beginners?
Meaning, you know, parents, how should we encourage parents to participate in their
practice?
It's a really good question.
And unfortunately, there are a lot of arguments about importance of parental involvement,
and some teachers don't even allow parents in their lessons.
I think, and I learned it from my pedagogy teacher, Victor Makarov, who also wrote a
book about piano pedagogy.
He had a little sketch of a bird flying, and the child sitting on the bird with one wing
being a teacher and the other wing being a parent.
And the question is, if one wing is missing, will the bird fly?
Will the child continue flying?
Of course not.
It will be a big fall.
And on my initial interview, I again, as I mentioned before, I don't choose a student
or choose students by their abilities.
I choose if I can work with parents and if they follow my instructions, my directions,
and my main request, my main demand for parents to be involved.
How involved?
I explained them right away, but I also continue educating them through all the years of piano
lessons and the ways are through newsletters, through articles.
There are tons of articles about importance, through little suggestions.
I at least twice a year, I do teacher-parent conference where I discuss with parents the
progress, we look together at the schedule, we try to tweak things around to give a good
time to piano practice, to make it a routine.
Of course, it's very hard, even when parents are present at the lessons, it's very hard
to answer all their questions or tell them everything, especially in front of the child.
So I do it without children, one on one.
But they are also active participants in the lesson.
If they become too much and that happens, it also takes some training and education.
I just tell them the child gets distracted, so you need to sit a little bit farther and
ask questions only after the lesson.
I don't allow them to correct the child because I am the one to do that.
If they pick on the child from two different sides, it's not going to be good.
So in the lesson, I'm the one who teaches, they observe and learn and record.
I actually video record every lesson, not only for the purpose to post it on YouTube,
but it's for parents to watch the lesson, not for students.
They will not be interested to look again at the lessons they were.
But parents can always go back and see what was emphasized, what's important.
Sometimes when parents are involved, the big challenge is arguments at home.
You don't know.
I used to tell my mom, how do you know?
I'm taking lessons.
You can't tell me what to do.
And my teacher is not here, so I know better.
But having the video, they can show them, look, your teacher told you to do that.
And that really helps.
I require parents to send me pictures, videos from their home practice so I can catch mistakes
early.
So they need to be aware of the process.
And the thing when children know that parents are involved, it really helps them to feel
support and they do something that is valuable.
Because if child is dropped off at the lesson, then picked up and then at home go practice,
they feel grounded.
They feel unprivileged.
It's punishment.
And especially young children, they can't be alone.
They don't feel the piano as a friend to communicate with grown-up people might feel.
We need to grow that relationship.
We need to teach them.
And if parents are there, if they support, if they encourage, not argue, not scream,
but support and encourage and make sure the schedule works so the child is not too tired
when they practice the piano.
When they go to the concert together and can discuss, those are the best ways to work.
Well, thank you.
Thank you for this, your wisdom.
And I'm sure my audience's members are really happy to hear that.
So for those who are listening and watching this episode, please check out IrinaGoren.com
for her method books, Tales of a Musical Journey series.
And also please join her Facebook forum, Passionate Piano Teacher Community.
And also you can check out her pedagogy courses, the Goren Institute at thegoreninstitute.com.
So Irina, thank you.
This has been a really fun and inspiring conversation.
But before I let you go, we have one more thing to do.
It's called the piano part rapid fire question.
So this is part of the show where I get to ask fun questions to each guest.
Here's a little twist.
As silly as these questions may sound, they may reveal who truly you are.
So get ready.
Yeah, let's start with the fun, easy questions.
Okay.
So level one, question number one.
What is your comfort food?
Ice cream.
Great.
Me too.
All right.
Number two, how do you like your coffee in the morning?
Black coffee with sugar.
Cattle dogs.
I had a dog, so probably dogs.
Sunrise or sunset?
Sunset.
So this is going to be level two.
What skill have you always wanted to learn but haven't had the chance to?
Dancing.
What is your word or words to live by?
Never give up.
Yes.
What is the most important quality you look for in other people?
Honesty.
Name three people who inspire you living or dead.
My parents and my teachers.
Level three, two more questions to go.
Name one piece in your current playlist.
Oh my goodness.
You know, it's always been probably Rachmaninoff concerto number two.
Of course.
The best.
Yes.
Now, final question.
Fill in the blank.
Music is blank.
Music is a life.
Great.
Beautiful.
Thank you.
So that concludes this episode of the Piano Pod.
Thank you, Irina, for joining my show today and sharing your stories and expertise.
So for the Piano Pod's listeners and viewers, please visit the goreininstitute.com to learn
more about Irina's organization and connect her on social media.
All the links are listed in the show notes.
Thank you to my wonderful audience and fans for tuning in today.
If you enjoyed today's episode, please rate and review it on whatever podcasting platform
you use.
And if you haven't already, please subscribe to my YouTube channel.
Follow the Piano Pod on social media to get the latest piano news via Facebook, Instagram,
TikTok and LinkedIn.
I will see you for the next episode of the Piano Pod.
Bye everyone.
Thank you so much, Irina.
Thank you.
Thank you for inviting me and thank you for our audience for listening.
Thank you.