It's Monday, the start of a new week, at the beginning of a new season. Clearly, you are here because you want to buy American when you can. I love it. Me too. Can I add something to your to-do list?

To-Do: Buy American and ask your favorite stores to help you.

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Just imagine what would happen if we all did it… if we asked retailers to help us choose American-made products. I'm not suggesting that you march into your nearest big box store and demand that they carry only American made goods. I'm not that kind of person. I don't think you are either. And besides, it won't work. But at the same time, it doesn't hurt to approach the store manager at retailers large and small to ask them what they carry that is made in the U.S. It would go something like this:

You: Excuse me, I have a question for the manager.

Them: Hi, I'm the manager, how can I help you?

You: I've been trying to buy more American made products lately. Can you tell me some of the items in your store that are US made? I'd like to buy them when I can and recommend them to my friends.

Easy enough… you just sent a clear message to the manager of the store (or website – this is even easier by email).

Best case scenario: you and the store manager find some American made products that you didn't know about before. An also excellent scenario: store manager reports back that “people are asking for goods made in the USA.” This is how change begins… with you.

Some of our favorite sources

There are some sources online that do a better job than most at carrying and labeling American Made products. Always check our latesttips and specialized search links in our own USA Love List Made in USA Shopping District. Here are some of our favorites:

Do you have a favorite go-to source for searching for American Made? Let us know in the comments below.

Pieces that are helpful to have experienced or played before approaching this one:

• Lynn Freeman Olson – Beginning Sonatinas
• Nancy Faber - Classic Sonatina in C Major
• Dennis Alexander - Simply Sonatinas
• Theodore Latour - Sonatina No. 1 in C Major
• Thomas Attwood - Sonatina in G Major

Creative activities to explore before the first encounter with the score, to prepare a student for deeper engagement and more immediate success:

• Improvisation/composing: create a LH melody, four measures long; add a right hand accompaniment in stationary broken octaves; balance the hands with care (preparation for mm. 20-24).
• Explore sonatina form.
• Research about Clementi: birth and death dates, biography, how many sonatinas did he compose?

Features to pay attention to first; priority steps in reading and absorbing the music.

• Rests: tap and count mm. 1-4, 15, 19, 38, lifting in an exaggerated way for the rests; circle the rests.
• Bracket potentially tricky places for special practice: mm. 6-9, 8-12 (moving LH early), 22- 24, and other spots that are likely to need special attention.

Physical skills and drills for common technical challenges in the piece.

• one-octave scales ascending, down a 7th, ascending again
• broken octaves, RH 1 - 5 - 5 - 5 = strong-light-light-light. Work on free technique; avoid overly stretching the hand.
• broken triad inversions using Clementi's opening gesture/motive: 'down and it's up up', then block
• LH cadence progressions with Alberti bass pattern
• 4-note broken chords with inversions

Ideas to connect and re­connect with the expressive and musical nature of the piece:

• Dynamic contrast: pause before each dynamic change, verbally state the next dynamic, then continue.
• Character contrast: discuss the abrupt shift in mood, mm. 16-24; how can shaping, balance, 'body language' project this most effectively?
• Compare the recap (m. 24ff) with the exposition; come up with mood adjectives to describe the differences.
• Balance: 'ghost' the accompaniment hand.
• Long lines: play or sing a G Major scale in whole notes while playing mm. 8-15 (or C major mm. 31-38); the whole section is one big scale!
• Feel the music in '2' vs. '4' for more natural flow and phrasing

Approaches to set up for success with refinements that will need attention a few weeks down the road:

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• Students with strong tactile memory will benefit from working back and forth between measures 5-15 and 24-39.
• Play (and sing!) the melody without accompaniment to focus on expressive shaping of the melody in mm. 16-20, 35-end.

Tips for maintaining focus and engagement over time:

• Performance opportunities (group lessons, etc.) provide concrete goals and enable students to become more confident performers.
• Self-evaluation: students record their own performances and evaluate, making note of what is going especially well, and what specific goals they have for future practice.
• Creative practicing techniques: a variety of speeds, selected rhythms, and mixing up the order of phrases/sections in the piece.

Useful practice segments; how to connect them and plug them back into the whole:

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• To build speed in mm. 8-16, 31-38: play at a faster tempo than the current performance tempo, pausing at each downbeat; follow by chaining two measures together, pausing at the downbeat of every other measure.
  

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Tips for focusing on how the parts make up the whole:

• Structural analysis can help with interpretation and memorization.
• Detail how the first theme is modified in the recapitulation, how the development section makes use of the first theme to create a different mood.

Ideas for finding and maintaining tempo, managing modifications artistically:

• Sing and conduct the piece 'in 2' to help with flow and breathing.
• Though metronome practice can be very useful, also play without the metronome and experiment with physical breathing and pacing between sections.

Tips for developing and refining a personal, internal sense of the piece:

• Develop a story about the piece: associate extra-musical ideas and/or assign descriptive words to each contrasting section.
• If student can vocalize or sing phrases in an expressive way, use this as a model for a more expressive and personal, organic interpretation; this works especially well with the development section, mm. 16-23.

Tips for securing memory:

• Harmonic analysis: label the scales in mm. 8 and 31; block and label LH chords in mm. 9, 11, 32, 34; block and label RH chords in mm. 1, 16, 17, 24, 28, 20.
• Play only the downbeats of mm. 8-12 and mm. 32-38 hands together; alternate between these sections, with the music and from memory.
• Keep playing with the score each day, even after memory is secured.
• Memory checkpoints: be able to start with and without the score from the following measures: 1, 5, 8, 12, 16, 24, 28, 31; before playing, verbally state the LH and RH starting notes, chord, etc.

Tips for ensuring performance readiness, maintaining freshness and spontaneity, and reinforcing an expressive personal connection:

• Continue with very slow practice, exaggerating every musical intention.
• Practice performing, even when alone: walk to the piano, take time, perform the piece in its entirety, do not stop even if not fully satisfied with the performance.
• Continue starting at a variety of spots in the music, with the score and from memory.
• Study the score without playing, imagining an 'ideal' performance.

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