(Big Note Songbook). 30 of the decade's most enduring hits in accessible Big-Note Piano arrangements for beginning pianists. Includes: All About That Bass (Meghan Trainor) * Call Me Maybe (Carly Rae Jepsen) * Happy (Pharrell) * Havana (Camila Cabello) * Hey, Soul Sister (Train) * I Knew You Were Trouble (Taylor Swift) * Love Yourself (Justin Bieber) * Perfect (Ed Sheeran) * Rolling in the Deep (Adele) * 7 Years (Lukas Graham) * Shallow (Lady Gaga & Bradley Cooper) * A Thousand Years (Christina Perri) * and more.

This bible of the piano marketplace is indispensable to buyers and owners of pianos, amateur and professional players alike. Hundreds of thousands of pianos are bought and sold each year, yet most people buy a piano with only the vaguest idea of what to look for as they make this major purchase. The Piano Book evaluates and compares every brand and style of piano sold in the United States. There is information on piano moving and storage, inspecting individual new and used pianos, the special market for Steinways, and sales gimmicks to watch out for. An annual supplement, sold separately, lists current prices for more than 2,500 new piano models.

Features easy words and piano arrangements for 26 favorite hymns and spirituals.

From the creator of the sensation Postmodern Jukebox -- with millions of fans globally -- comes an inspirational memoir about discovering what you love and turning it into a creative movement. With student loan debt piling up and no lucrative gigs around the corner, Scott Bradlee found himself in a situation all too familiar to struggling musicians and creative professionals, unsure whether he should use the little income he had to pay his rent or to avoid defaulting on his loans. It was under these desperate circumstances that Bradlee began experimenting, applying his passion for jazz, ragtime, and doo wop styles to contemporary hits by singers like Macklemore and Miley Cyrus--and suddenly an idea was born. Today, Postmodern Jukebox -- the rotating supergroup devoted to period covers of pop songs, which Bradlee created in a basement apartment in Queens, New York--is a bona fide global sensation, having collected more than three million subscribers on YouTube while selling out major venues around the world and developing previously unknown talent into superstar singers. From its Etta James-inspired rendition of Radiohead's "Creep" to its New Orleans jazz interpretation of Meghan Trainor's "All About That Bass," the group has established a sound like no other, crafting hits as exquisitely sublime as they are humorously absurd. But it wasn't always as easy as the YouTube videos make it look. As he worked to establish Postmodern Jukebox, Bradlee struggled through the obstacles that every self-employed artist or entrepreneur with a vision faces: how to collaborate successfully on teams with divergent visions, how to outrun the naysayers, how to chase the next innovation when your reputation makes others start to pigeonhole you, and so many of the other challenges lining the path to success. Taking readers through the false starts, hilarious backstage antics, and unexpected breakthroughs of Bradlee's journey from a lost musician to a musical kingmaker -- and presenting all the entrepreneurial insights he learned along the way -- Outside the Jukebox is an inspiring memoir about how one musician found his rhythm and launched a movement that would forever change our relationships to our favorite songs.

(Music Pro Guides). Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo , To Kill a Mockingbird , Patton , The Untouchables , or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music . This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art , to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language , developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning . To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): "If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today."