"The Shaak series of books are fantastic and have
broadened my teaching horizons. They provide a very
solid foundation for the beginning student: freedom at
the keyboard, reliable technique and easy
memorization. Beginners can play impressive pieces
right away! The pieces are beautiful and musical and
very pianistic!"

Bravo, Bernard and Carolyn!
Gabriela Gottlieb

Piano teacher

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Piano partners method includes enjoyable material for very young students while not sacrificing foundational skills. Very young students are able to begin playing this material from day one. Builds real music skills relevant to skills needed later, rather than teaching on the basis of made-up, pseudo musical representations for very young students that other methods employ.Piano partners recognizes the critical role of a parent in building the discipline needed to not only to practice but to practice the right material. Young students learn to play music first to build playing skills, followed by a structured sight-reading regimen that effectively dovetails the playing skills built in parallel.

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The Italian Variations by Bernard and Carolyn Shaak are a rich, colorful
collection of musical pieces that allow a student to explore the keyboard
in fifteen piano styles. Besides tributes to Beethoven (think "Moonlight
Sonata") and Rachmaninoff (think "Somewhere in Time"), the variations
sound like tap dancing, popcorn popping, yodeling or dinner at a Japanese
Restaurant. These variations can set off a student's imagination in
fifteen different directions. Most of all, this music is fun to play. Add to
that--practice with chromatic scales, triplets, pedal technic, notes held
by one finger while the rest dance up and down, thirds, chords, repeated note
fingering, inversions, accidentals and a smattering of keys to play in.
It all adds up to an enjoyable way to learn.

Joy K. Young
Piano Teacher

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In the decade I've been teaching piano, I've found nothing to
equal the various books and methods designed with such care and
imagination by Carolyn and Bernard Shaak. I have come to rely upon the
Piano Partners series, the Reading, Writing and Rhythm, and
Celebrations series to introduce eager young minds and fingers to the
world of music as expressed at and for the keyboard. My students have
been introduced in a beautifully logical yet highly musical way to the
essential ingredients of music making: the complexities of rhythm,
the shifting of harmonies, the movement of voices between hands and
registers, the development of equal dexterity in all fingers, the
intelligent use of dynamics, the nature of form: all, and more, are
subtly but definitively bestowed upon the fortunate pupil who delves
into these books. Happily lacking is any manner of pandering or
condescending to the student: she is seen as a definite partner in a
great deepening adventure wherein a wide and profound world awaits
exploration. I am also very fond of the Events series: they
bewitchingly combine a furthering of technique with an expanding
harmonic universe.

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The "Lesson Enhancement" presentation by Carolyn Shaak and her "little
gang of four"; Adina, Erin, Jenny, Valerie was an eye-opening experience for
the teachers of the Greeley Music Teachers Association. The students who
demonstrated the L. E. presentations were between 7 and 9 years of age,
they played Haydn Concertos in C and G and some other short intermediate
pieces along with technical exercises and games of theory and ear
training. The total running time was 1 hour and 12 minutes.

Even with my nearly 20 years of piano teaching experience, I have
struggled with keeping young student's attention for an hour. If I solved the
problem by shortening the lesson time , then I felt a lack of time to
cover the materials for each week's lesson. For older students, I see the need
for social interaction with other piano students. Often times my high
school student feel they do not get enough recognition from their school
friends and community for their achievements in their piano study. When
Carolyn presented her "Lesson Enhancement" demonstration, I was excited at
the prospect of solving my dilemma.

The most wonderful aspect about any private music lesson is the private
interaction between the teacher and the student, and there is no better
way to truly teach how to play an instrument. Although I really cherish the
private time with my individual students, there are some materials which
can be covered in a group situation as well or even better. L.E. was the
perfect example of how the additional group lesson can more efficiently
help the students play the piano well. Carolyn has put together the
program with an understanding of the essence of piano playing and of the
nature of young students' learning process. For example, she associated
throwing darts with total relaxation of shoulder, elbow and wrist, falling
with the natural drop of the hand, etc.. Also there were dancing, ear
training chair and hula hoop games. The star students in the presentation
were having a ball and eager to be the volunteers. I have already
adopted the idea of having the group lesson with my studio and I have had an
amazing response from the students who have participated so far. I am
truly thankful for Carolyn's generosity in sharing her teaching with us.

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"I have worked with the Shaaks and their students for many years--
and I find that the methods that both Bernard and Carolyn have developed work on the entire child. Not only is the technique and approach to the piano excellent, but total musicality is addressed with respect to theory, awareness of phrasing and an ability to listen and meld with an orchestra in a concerto situation."

Tom Jensen,
Music Director,
Junior Symphony Guild of Denver

Educational
Outreach Program

---

In the decade I've been teaching piano, I've found nothing to
equal the various books and methods designed with such care and
imagination by Carolyn and Bernard Shaak. I have come to rely upon the
Piano Partners series, the Reading, Writing and Rhythm, and
Celebrations series to introduce eager young minds and fingers to the
world of music as expressed at and for the keyboard. My students have
been introduced in a beautifully logical yet highly musical way to the
essential ingredients of music making: the complexities of rhythm,
the shifting of harmonies, the movement of voices between hands and
registers, the development of equal dexterity in all fingers, the
intelligent use of dynamics, the nature of form: all, and more, are
subtly but definitively bestowed upon the fortunate pupil who delves
into these books. Happily lacking is any manner of pandering or
condescending to the student: she is seen as a definite partner in a
great deepening adventure wherein a wide and profound world awaits
exploration. I am also very fond of the Events series: they
bewitchingly combine a furthering of technique with an expanding
harmonic universe.

Fondly,

Peggy Stekler
Piano teacher

3rd Street Music School, NYC
Harlem School of the Arts
Bennett Conservatory, Croton-on-Hudson, NY
Marymount College