Episode Summary
Teacher Jonathan Roberts, director of the South Shore Piano School in Boston shares his experiences with the Royal Conservatory of Music (RCM) as an examiner, mentor, and US representative. We also discuss the impact of the RCM’s Music Lights the Way campaign, which gifted over 400,000 books to 20,000 teachers in the US and Canada from the new 6th edition of the series. The campaign includes an incredible new festival and competition as well.
Items Mentioned
Jonathan Roberts – South Shore Piano School
Music Lights the Way broadcast
Royal Conservatory of Music Mentorship Program
Join The Piano Pantry Retreat FIRST notification email list
Transcript
Amy: Welcome to the Piano Pantry Podcast, where together, we live life as independent music teachers. I’m your host, Amy Chaplin. In this space, we talk about all things teacher life-related, from organizing our studios to getting dinner on the table and all that comes between. You’ll get loads of easily actionable tips on organizing and managing your studio, while balancing life and home.
While this podcast is primarily a solo podcast, Every five episodes, I like to bring you a casual chat called Teacher Talk, where the goal is to get to know other teachers and be inspired by our day-to-day work. Today’s chat is slightly off the norm in that our discussion is focused around the Canadian-based Royal Conservatory program.
When I heard about their new Music Lights the Way campaign to gift over 400,000 books to 20,000 teachers in the U. S. and Canada, I immediately reached out for an interview. I hope you’ll enjoy my chat today with U. S. piano teacher and RCM examiner Jonathan Roberts.
Welcome to the Piano Pantry Podcast. Jonathan, it’s so great to have you here today.
Jonathan: Thank you so much for having me.
Amy: To get started, why don’t you just introduce yourself to our listeners? Tell us where you’re from. Maybe give us a brief picture of your current teaching setup and how you’re connected through with RCM.
Jonathan: Sure, absolutely. My name is Jonathan Roberts. I’m in the Boston area, just south of Boston in the town of Quincy, where I run a music school. It’s the South Shore Piano School. We have over 220 students in just about two and a half years. So that’s been really exciting.
And I’ve been involved with the Royal Conservatory of Music for about the past eight years. When I first started sending students for examinations, I became an examiner for the Royal Conservatory. In, let’s see, we’re going back to 2017, 2018. So I’ve been an examiner for about four years or so, and a little over a year ago, I became a US representative for Royal Conservatory of Music. So I work helping to get teachers involved with the program who are totally brand new, and I also work with participating schools, helping school owners and their teachers get on board with the program and start sending students.
Amy: Now, do you actually host a program at your own studio location in Boston, or what’s the closest event that you have in your area?
Jonathan: We don’t serve as a local exam center. Although I suppose with the pandemic, nobody’s really served as an examination center until recently again. Yeah, so I would say about 25 to 30 percent of our students are involved with the program and they’ve been doing the remote examinations. Then, we have a great center close by at the South Shore Conservatory and hang them that serve as our local in-person examination center. That’s finally starting to host the in-person examinations again, which is really exciting.
Amy: One question I like to ask anybody that I interview is just an informal, give us a little sneak peek into your daily teacher life. What does your schedule look like? A kick out of hearing what everybody else does day to day.
Jonathan: Yeah, sure. No, that’s cool. A sort of typical day. I usually try to get up on the early side before everybody else has woken up in the house. My wife, my two kids, I try to get up. Before everybody else does. So I can do like my morning wellness routine. So I get a little bit of yoga, and I do some breathing work, meditation, and that kind of stuff to really set the tone for the day.
And then I’ll usually try to do like a good, like 60 to 90 minutes of some creative work. So like blogging or video creation, stuff like that. So that creative Work while I’m fresh in the morning, and then once everybody else in the house is up and out and about, I get some of that much-needed family time with wife and kids for a good hour or two before I do some administrative stuff and then head off to teaching at our studio location.
And then, like most piano teachers, my main block is like that after school hours, so it’s like two to seven or three to eight. Yeah. And Then I come home, unwind, and just decompress from the day. And I would say that kind of sums up an average day in the life of Jonathan Roberts.
Amy: Do you have students five days a week? Are you a Monday to Friday or Monday to Saturday, or what days do you teach students?
Jonathan: So for me right now, I’m Wednesday through Saturday. Last year, I worked six days a week, Monday through Saturday. Yeah. But between. That, doing all the administrative stuff, running a school. Cause I’ve, I have six other teachers working with me. So handling all of that stuff and all the things that go with running a business and the RCM stuff, it was just too much. So I cut it down to four days this year, granted, those are four kind of marathon ish days. But it’s been a welcome relief compared to six days a week.
Amy: So if our listeners aren’t familiar with the RCM program, would you be able to just share a little bit more details about the program itself?
Jonathan: Yeah, absolutely. It’s always one of those tricky things to explain in just two or three sentences, but essentially it’s a leveled certificate program. So, if you think about how kids have their different grades they go through in school, first, second, third, fourth, or they have their different colors of karate belts, which I don’t know what the colors are, but orange, green, but whatever it is, this is essentially that same idea, but it’s applied to music study.
So, the Royal Conservatory of Music has had this program in Canada for decades. It’s relatively new here in the United States, but even in the broader scheme and most developed nations other than the United States, it’s actually very unusual for kids to take music lessons and never take a music exam. So for us here in the U S this is a pretty new concept.
But essentially for each instrument, there’s a syllabus with all the requirements for all of these various levels. There are techniques, so scales, triads, arpeggios, all of that kind of stuff to provide that solid technical foundation and even theory foundation, there’s repertoire. So, the students and their teachers select pieces off of a list to perform for an examiner. And then what I like the most, because I feel like this gets overlooked so often in traditional music studies, is ear training and sight reading. So, a lot of things that I didn’t really learn officially until college, these kids get the opportunity to start exploring now as they prepare for these exams. Things like interval recognitions. Playback, hearing a melody and a key, and then being able to play it back, things like that.
All of this is beautifully laid out in the RCM syllabus to give the teacher a guide and a curriculum for both short-term and long-term planning.Their students have a real long-term trajectory in their studies.
Amy: Yeah. The materials are really high quality. That you mentioned the ear training specifically. So, do you use the online ear training things that go along with the ear training, the four-star books?
Jonathan: Yeah, the online ear training. What I also like about the syllabus is that each level is really designed so that the parts integrate together very well. So I’m always because you know how it is with lessons as you blink and the lessons are over, especially, it’s like a 30-minute lesson. So it’s an it’s a fun sort of challenge to incorporate those ear training elements into the repertoire so it’s not like here’s your technique. Here’s your repertoire, and here’s your ear training. But here’s your technique and how it applies to your repertoire. Here’s your ear training and how it applies to your repertoire.
Amy: Right. Do you find that the leveling system motivates your students really well? Having that kind of concrete okay, I’m working towards this level this year – what do you see in your students?
Jonathan: Yeah, definitely. I find that the younger I can get them started, the better because they haven’t really been tainted yet by this idea of examinations in general because here, especially once kids get to middle school and high school, the idea of music and examination just isn’t like a warm and fuzzy thought.
When we can get kids that are like six or seven or eight involved at this younger age, I find that sort of ignites a spark of Oh yeah, I did this. I’m like, what will it look like when I get to level seven? And they like to just see what lies ahead. So they feel like they’re really on a track.
Amy: Now, is that a requirement in your studio that all of your students do an examination every year, or how do you handle that at your music school?
Jonathan: Sure. It’s not a requirement. It’s not necessarily a program for everyone. We do highly encourage it. So all of the students that come in, they know that we’re a participating school that, mo most of, pretty close to all of us, are experienced with the program and have had students sent regularly, and we’ve outlined the benefits. There are some families where, no matter how well you explain it, just the idea of doing a music exam is not for them. So we don’t make it a requirement by any means, but we definitely have seen a connection between the students who really engage with it and give that first exam. They’re all, and do you know, at least a few. We don’t really see any connection between that and sticking with this for longer.
What I found interesting is the students who like to do one or two and then just say Oh, we don’t want to do the exams anymore. Or if they just say, Yeah, this isn’t for us. Not across the board, but more often than not, they’re the ones that kind of do their two or three years of piano, and then other commitments override everything else. So I’m pretty passionate about trying to get as many students in as we can.
Amy: Interesting. Interesting. Now you mentioned that it hasn’t been in the U S for long, and I’m trying to recall that I’ve only been teaching piano full time myself. Since around 2011, and I feel as I was doing my master’s program between 2009 and 2011, that maybe that was the period where RCM started coming to the U S but I could be wrong because like I said I really wasn’t into, I didn’t know about it prior to that. So, do you know how long it has been in the U S?
Jonathan: I always get this timeline a little bit off because I was thinking that it was around that same time period, but I think it may have been trickling in even before that. But I think it really came to light with the partnership with Carnegie Hall that I’ve, I’m sure you’ve heard about with the sort of initial introduction into the U S. Yeah, so somewhere in that like late two thousands, I would say.
Amy: Now, was that how the entry into the U. S. came about? But now they’re separated, correct? It’s not, is it any, right?
Jonathan: Yeah. It’s no longer in conjunction with Carnegie. But teachers have done a phenomenal job though – rally getting it up and running here in the States.
Amy: I particularly love the prep a and prep. B books in the repertoire. I love the Four Star sight-reading books is great. I don’t use as many of the online resources, although I’ve looked at them before, and they’re really high quality.I just haven’t, it just has integrated into how I might work in my day to day studio. And I also love the theory books. They are my number one go-to theory book, for sure.
Tell us a little bit about your experiences as an examiner. Maybe you’ve been doing it for a little while, and then a little bit about the process if anybody else is interested in becoming an examiner.
Jonathan: Yeah, absolutely. So I’ve been an examiner for about four years now, and it’s just been such a wonderful experience to be able to play a small part in the musical development of so many other students. And, all over the country and in Canada, both with in-person exams until those came to a pause temporarily, and especially with the remote exams, it’s cool to be able to sit here in Boston and be able to do an examination with a student in Vancouver and be able to have some small impact on that student’s development. That’s been really cool.
The process for anybody who’s interested, I would say a part of it is certainly. You want to build up experience sending students to examinations because periodically RCM will have a call for applications for people who want to become examiners. And a critical part of that will be that you have actually sent students to exams. So if you’ve never sent students to exams, but you apply to be an examiner, there’s a little bit of a disconnect there.
But the training is quite excellent. It’s a good three days in Toronto, hands on training, wonderful workshops and master classes, just learning about the marking process because the goal with this program from the examiner perspective is to have such a consistent standard that if, 50 examiners examined the same student. the marking would only be off by a few points to make it a very consistent high standard of quality.
Once those hands-on training days are finished, there’s a period of apprentice examining. So for a few sessions, the examiner will, the Or the let me think. It’s not; I don’t think they say apprentice anymore. We’ll say examiner in training. So the examiner in training will examine alongside a mentor examiner. And it’s really cool how the process works. The trainee will essentially sit alongside the mentor examiner and make comments and marks along with the mentor examiner to try to work on. The marking and the comments to work on like the consistency, and then gradually, with each session, they shift more and more responsibility over to the examiner in training.
So, the trainee might do the technical test portion, and then the mentor will do everything else. And then they’ll switch and then have the Examiner and training do just the repertoire and the ear training. And then so gradually they shifted this until on the sort of final examination day in training, they just have the trainee do the entire examination still alongside the mentor examiner, who is still taking their marks and there’s the ones that counts and still all along the way, just comparing marks to make sure the consistency is there.
Amy: That’s really fabulous. That’s what I love about the program; it is just that consistency, especially in the judging.
Jonathan: Yeah, absolutely. Yeah. I’ve never, I have to say, pretty much without exception. I’ve never gotten a report back from a student’s exams and have something totally off base.
Amy: Yeah. Yeah. That’s good to know. Going into it gives you confidence that your students will have a good experience as a teacher.
So let’s chat a little bit about the RCMs music lights the way campaign. Can you, maybe if our listeners haven’t heard of that or what’s been going on here this past month, share a little bit about that?
Jonathan: Yeah, so this was a wonderful celebration at Kerner Hall. So, really, a lot of it’s around the launch of the sixth edition of the celebration series, but it’s really celebrating even so much more than that. I am just celebrating the impact of music on so many students’ lives. Celebrating the teachers who have made this happen, celebrating and thriving through the past two years.
Yeah. And as most of your listeners have probably, if they don’t already know, I have probably heard from somebody that RCM is giving away lots of free books to teachers who have participated in the program, which is Super, super exciting. So that was, I think the greatest gift of all,
Amy: as soon as I saw the email come through about that. They were asking about people who were interested in doing interviews and getting the word out. And I jumped on that right away. I’m like, this is like incredible.
Jonathan: Yeah, absolutely. But it was such a fun evening just with so many performances. And I thought it was really fun to hear a lot of the backstories with some of these compositions that are included in the. In this new celebration series, which I think really is the most diverse and inclusive collection of repertory they’ve come up with yet.
Amy: So basically they’re giving away – correct if I’m wrong – more than 40,000, sorry, 400,000 books to 20, 000 teachers in the US and Canada, right?
Jonathan: That is correct.
Amy: That is incredible. So that you’re, that’s the whole series, right? The teachers that get that donation get the entire collection, like one of all the theory, all the etudes, the repertoire, and the four star sight reading books.
Jonathan: I want to say it’s a 22-book collection. I’m not; I don’t think it includes the theory, actually.
. I believe it’s everything for, so if you’re a piano teacher, you get the whole four-star technique, etudes, repertoire, and I think it’s like a 22 book. Collection or something.
Amy: Cause I know that theory gets renewed on its own. So that’s probably not part of it because theory is on its own track. So, how did teachers get these books? What do you have to do to be a teacher to receive this incredible gift?
Jonathan: Basically, if you’ve participated regularly in sending students to examinations over the past five years, you automatically qualify. So teachers listening to this, if that’s you should have already gotten an email basically saying, here’s your redemption code. Go on in. And it’s a beautiful feeling to go into the RCM bookstore and see a huge collection of 400 dollars and something zero.
Amy: I’ve seen pictures of teachers posting that on Facebook; oh my goodness. Look at this – $450 for free.
Jonathan: And even for teachers who haven’t necessarily participated at that level over the last five years, RCM is still offering a pretty substantial discount so that they can get materials as well. I think it’s about 30%.
Amy: 30 percent is what I think that I saw. Yeah. I think it’s just a great way to reward the teachers that I have been. Supporting the RCM program, like you said, for the past five years, and also a way to give token to other teachers, even if they haven’t.
Now, is it the same process for teachers who maybe haven’t been involved and still want to try to take advantage of the discount? Do you know, do they just go onto RCM’s website to apply for the, and purchase them through there or how does that work?
Jonathan: They may be able to go back and look at the replay of the live events, or a good go-to is always just email candidate services. I think the way I think the email is is candidate services at rcmusic.ca and just say, Hey, I’m interested in this can I get the discount?
Amy: We’ll post links in the show notes to anything that we find that can help direct you that way.
So how has this, or I should say, how is this gift going to impact you and your studio as a teacher?
Jonathan: I run a music school with six other teachers. It’s going to be awesome to be able to add this to our library because it’s just such a wealth of repertoire. What I love about the program, too, is all the pieces are selected with pedagogy in mind and The RCM program really just helped my development so much as a teacher, I think it’s going to be really helpful to be able to have this as a resource for my other teachers to be able to look at repertoire, especially some of my teachers who are a little newer to teaching younger students to be able to see, repertoire that was You know, selected and curated with pedagogy in mind and just being able to, being able to save that the 400 is certainly nice. But I think it’s also just a bigger picture. It’s nice to feel I think it was just such a an incredible gesture on RCM’s part to really feel like we’re all in this together for a really a bigger mission to improve just humanity in general through the arts.
Amy: Yeah, I love the 10-level system; it is a great way. Like you said, even just as references in, because sometimes in repertoire books that say the intermediate level, you get multiple levels within one book sometimes. And I know it really can help you break that down even further. For example, Fur Elise might be in one particular series. Along with, which is, I think a level seven in RCM, if I remember right, it might be in another book alongside a level five-piece, and if teachers aren’t familiar with, progressing, feeling confident with different differentiating those levels it could just be nice to have that resource to yeah, to break it down a little bit even further.
Jonathan, do you have any advice for teachers who are interested in either getting started with entering students in the program or who are even already involved in the program? What are your best tips?
Jonathan: Absolutely. So, the best advice I’m always giving teachers is to just start before you feel ready. One thing I find that happens frequently is that I’ve known many teachers over the years, and they’re like, yeah, I think I want to RCM this year. And it always feels like there’s more prep work that needs to be done before making the leap and actually talking with parents about it. So like my first piece of advice is always just start before you’re ready, just pick a student, start talking to the parents, just get into that habit of talking about this program in the studio,
Amy: Be consistent in your own studio with it.
Jonathan: But as hard as some more sort of step-by-step practical advice, the syllabus is always a great place to start just getting familiar with the level-by-level requirements. I am getting some practice talking with parents about the program in terms that they understand because I think it’s one of those concepts that’s hard to explain in just a couple of sentences.
So I usually tell teachers to try to explain it to parents in terms of what they’re already familiar with. This is where I love analogies because if you could just you just tell parents like, okay, this is their grades in school or like they’re built in karate, but it’s for piano. Yeah. That’s so much easier for a parent to understand than when there’s this organization in Canada. It’s been a national standard for the last, and that can get,
Amy: it’s all about how you market it, right? It’s marketing. We’re marketers, too. Not just piano teachers.
Jonathan: Exactly. We also have an exciting new program that I run. for RCM. It’s the RCM mentorship program. And this is a totally free program. I can give you a link to include this in the show notes. It’s essentially structured like an online course where every week I’ll publish one or two little video lessons that step-step guide teachers from having zero knowledge about the program to submitting their first students with having me there as a resource pretty much every step of the way. That’s been really cool.
So we’re doing our sort of second run of that program now. We actually just started last week. So if anybody wants to join, it’s completely free. It’s on an online platform that’s totally private, just for mentorship program students. So it basically has all the functionality of Facebook where you can post and have discussions and stuff like that but without all of the other distractions.
Amy: What about as an examiner? Do you have any tips for teachers who are prepping students, from what you actually see from the examiner side of things?
Jonathan: So I think the best thing, is like from the day you decide, okay, we’re going to do level one piano, go ahead and set that timeline of, this is where we’re going to plan to do the exam. Let’s figure out when you’re going to have, this piece of repertoire done when you have this repertoire done. I usually tell teachers to try to avoid teaching to the test because one sort of flip side of this program is I’ve known some teachers. Over the years, who only do the exam requirements? So a student might only end up playing like their three exam pieces for five months.
That’s a trap that we don’t want to fall into either. So basically, to plan out how you’re going to work to this level, but without teaching to the test and how, plan out, how are you going to work on sight reading without like just doing the four-star book?
That’s where I’m sure you’ve heard of the 40-piece challenge. I love doing that with my students. It really boosts their sight reading. So just there’s lots of room for creativity to think about what fits with your style as a teacher to help prepare your students for this level. But I think planning for that timeline. So you’re not cramming towards the end. This is critical. So, make sure you’re on the same page. Students are on the same page, and parents are on the same page. It can really be a beautiful thing.
Amy: That’s great advice because, like you said, it can be very easy to get locked into. Oh my goodness, we have to have this by here at this time, and everything else gets pushed by the wayside, especially when you get under pressure as it gets closer,
one of my last questions for you, Jonathan, is about the Music Lights the Way Piano Festival and Competition. This is something new that’s being rolled out. Can you share a little bit about that?
Jonathan: It’s gonna be another step in this celebration of the Celebration Series. So there’s gonna be Something for everyone.
More details will be coming out, I imagine, in the coming months, but I believe RSM is going to structure this so that there’s something for all ages and levels. It’s going to revolve around the Celebration Series Repertoire, and there are going to be lots of really cool prizes, in my understanding, and What I like is they’re going to be structuring this so it’s not, there, there will be opportunities for prizes so that it’s not just about who plays the best because sometimes competitions can be a little discouraging when, I think we all have our local competition teachers that we just totally discourage us from entering competitions. But as with RCM’s mission, they’re really making this open to everyone. So there’s really going to be something for everyone. And I think it’s over 200,000 in prizes that are going to be available. So that’s really exciting.
Amy: Now I, if I recall correctly, cause I did watch the music lights, the way, event and everything that there, there’s going to be a division, even for adults. Is that correct?
Jonathan: That is correct. Yeah. I don’t know any details beyond that, but there will be divisions for adults, which will be really exciting. Cause I think often that’s a group that sort of. Excluded unless you want to do like the van Cliburn amateur. Or something like that.
Amy: Not a lot of adults are going to do the van Cliburn.
Alright, so at the end of every episode, I just like to ask teachers to finish off with one silly fun fact about yourself to help us get to know you a little bit better.
Jonathan: So this is one of my silly audisms. I am a zombie movie fanatic. So I, which I don’t think I’ve ever met any other people that like are as weirdly into zombie movies as I am. And it’s not necessarily, I’m not necessarily into gore and horror-y stuff.
Think with like zombie movies, I think the two things that are like intriguing about the concept are one, That it’s like of all the disaster things. I think it’s like the closest thing that, especially after our pandemic experience, it’s like the closest thing to like something that could actually happen, but then the second one, I think it, it’s it requires like a lot of creativity and Courage now for anybody to make a zombie movie anymore because most of them end with either everybody dies at the end or everybody like jumps in a helicopter and flies away.
Pretty much everything that has tried to like, so I think recently, like the very first zombie slash heist film came out that was called Army of the Dead, I think. So like to do a zombie movie, you can’t just do the typical like everybody just runs and escapes because it’s been done like a million times. So anyway, so that’s my silly oddism.
Amy: I assume that means that you are a big fan of the TV series. And the name is Escaping Me.
Jonathan: The Walking Dead.
Amy: Thank you.
Jonathan: Oh yeah. All my friends have stopped watching it. I’m the last one standing.
Amy: But yeah, no, we were into it for about the first season or two. And how many seasons are there now?
Jonathan: I think we’re on season 11 now.
Amy: Oh my goodness. Yeah. We did several seasons, but after a while we’re like…okay.
Jonathan: Yeah. It starts to get a little exhausting, which is funny because the original, speaking of creativity, the original concept of like the comic book was exactly that. Like the creator was like, okay, every movie ends with either everybody dying, or everybody flying in a helicopter. So what happens next? Ironically, he even canceled the comic book and graphic novel series because he couldn’t sustain it anymore. So as a zombie fan, then I think he would really.
Amy: like the music from Jason Sifford called The Creeps. Have you heard of that? It’s really great for Halloween. And I know that there’s a song called Zombies or something like that. So you might want to check that out.
Thank you so much for being with us here on the podcast today and for sharing everything regarding the RCM program and their Music Lights the Way Campaign. It’s really fantastic to hear what they’re doing for teachers around the U.S. and Canada. Best of luck to you and your studio.
Jonathan: Thank you so much. You as well. Thank you so much for having me.
Amy: Have a great day.
Jonathan: You too.
Amy: Thanks for being here today, teacher friends. Now, don’t forget to jump into the show notes for links to items mentioned in this episode. And when we’re done here, would you also mind heading over to Apple Podcasts to leave a rating and review? If you’re on social media, you can find me on Instagram at Amy Chaplin Piano and on Facebook at Piano Pantry.
If you enjoy these teacher chats, be sure and jump back in to listen to episode number five, where I chat with Ben Capelo, creator of the excellent podcast, all keyed up. Episode 10, where I chat with current president of Music Teachers National Association, Karen Thixton, and episode number 15, where I have a little piano teacher powwow with three of my very own friends, Christina Whitlock, Jana Williamson, and Joy Morin.
Now, if you think you would enjoy a little teacher chat of your own, I announced at the end of episode number 18, That I have launched a new venture called the Piano Pantry Retreat. This retreat is very near and dear to my heart as it’s a way of not only giving you an opportunity to gather and glean from each other in a very small setting, but it fits with my greatest joys in life of playing hostess and cooking.
This three-day rejuvenating retreat is an exclusive event in that it is a 100 percent one-on-one catered event at my home here in Northeast Indiana designed for you to rest, reset, and rethink. Your rest will include intentional quiet time to relax and restore with a pampering of healthy home-cooked meals by me.
You’ll reset in that you’ll get seven 75-minute power hours where together we will tackle digital organization projects, including email cleanup, document management, social media, scheduling, personal projects, studio business organization, and more. And finally, you’ll have time to rethink that is. To spend time with fellow teachers, brainstorming and gleaning ideas from each other in a casual setting.
With combined goals of time alone, with other teachers, and one-on-one coaching with me, you’ll walk away feeling renewed, encouraged, organized, refreshed, and grounded for your next season of teaching and life. Again, since this is hosted in my home with all food and accommodation equipment. I can only host three teachers at a time.
While the first one is already full from opening it up to a small handful of friends and acquaintances, I plan on having more dates available in the future. If you’re interested in joining the email list where you will get first notification when dates open up, visit the link in the show notes to sign up.
Have a great day!
