1. BILLY JOEL By: Clifford Andersen Introduction to Music Fall 2011

2. William “Billy” Martin Joel Born May 9, 1949, in Bronx, New York. Born May 9, 1949, in Bronx, New York. Raised in Long Island, New York, by his single mother after his parents’ divorce at age eight. Raised in Long Island, New York, by his single mother after his parents’ divorce at age eight. Started piano lessons at only four years old. Started piano lessons at only four years old. Focused on music rather than education, giving tips to his mother to help with bills. Focused on music rather than education, giving tips to his mother to help with bills. Earned his high school diploma in 1992, and at the age of 43. Earned his high school diploma in 1992, and at the age of 43.

3. Early Years As A Musician 1963 – Joined a member of the band “The Echoes.” 1963 – Joined a member of the band “The Echoes.” 1967 – Joined “The Hassles.” The band recorded two albums with United Artists. 1967 – Joined “The Hassles.” The band recorded two albums with United Artists. – The Hassles – Hour of the Wolf During this time, Joel suffered from depression and spent three weeks in a psychiatric hospital after a failed suicide attempt. During this time, Joel suffered from depression and spent three weeks in a psychiatric hospital after a failed suicide attempt.

4. Cold Spring Harbor (1972) In 1971, Joel signed a solo recording contract and released his first solo album, Cold Spring Harbor, with Family Productions. In 1971, Joel signed a solo recording contract and released his first solo album, Cold Spring Harbor, with Family Productions. Despite the album’s failure, Joel was bound by a contract with Family Productions. Despite the album’s failure, Joel was bound by a contract with Family Productions. A frustrated Joel left New York and moved to Los Angeles, and started playing in a piano bar under the name Bill Martin. A frustrated Joel left New York and moved to Los Angeles, and started playing in a piano bar under the name Bill Martin.

5. “Captain Jack” & Columbia Records Before leaving New York, Joel recorded a live performance of “Captain Jack,” which a Philadelphia radio station started playing in 1972. Before leaving New York, Joel recorded a live performance of “Captain Jack,” which a Philadelphia radio station started playing in 1972. At that time, Joel was playing piano under the assumed name, Bill Martin, at The Executive Lounge in Los Angeles to pay the bills. At that time, Joel was playing piano under the assumed name, Bill Martin, at The Executive Lounge in Los Angeles to pay the bills. “Captain Jack” caught the attention of Columbia Records and prompted them to approach Joel, and they worked to get him out of his previous contract with Family Entertainment. “Captain Jack” caught the attention of Columbia Records and prompted them to approach Joel, and they worked to get him out of his previous contract with Family Entertainment. Joel was signed to Columbia Records by the Legendary Clive Davis in 1973. Joel was signed to Columbia Records by the Legendary Clive Davis in 1973.

6. Piano Man (1973) The album Piano Man debuted in 1973, and became Joel’s first Gold Album. The album Piano Man debuted in 1973, and became Joel’s first Gold Album. The hit song from the album, also titled “Piano Man,” became Joel’s first top 20 single, and launched Joel on the path toward stardom. The hit song from the album, also titled “Piano Man,” became Joel’s first top 20 single, and launched Joel on the path toward stardom.

7. The Stranger (1977) In 1977, Joel wrote, recorded and released The Stranger, his second album with Columbia Records. In 1977, Joel wrote, recorded and released The Stranger, his second album with Columbia Records. The Stranger was Columbia’s biggest selling album until 1985. The Stranger was Columbia’s biggest selling album until 1985.

8. Hits from The Stranger Four singles from The Stranger charted on the Billboard Hot 100: Four singles from The Stranger charted on the Billboard Hot 100: – "Just The Way You Are" (#3) Grammy Award for Song of the Year Grammy Award for Song of the Year Grammy Award for Record of the Year Grammy Award for Record of the Year – "Movin' Out" (#17) – "She's Always a Woman" (#17) – "Only The Good Die Young" (#24)

9. 52 nd Street (1978) Became Joel’s first #1 Album, winning a 1979 Grammy Award for Album of the Year Became Joel’s first #1 Album, winning a 1979 Grammy Award for Album of the Year Three songs reached the Top 40 in the United States: Three songs reached the Top 40 in the United States: – "My Life" (#3) – "Big Shot" (#14) – "Honesty" (#24)

10. Success of the 1980s 1980 - Glass House album hit #1 on the Billboard Album Chart. 1980 - Glass House album hit #1 on the Billboard Album Chart. 1980- The song, “It’s Still Rock n’ Roll To Me” became Joel’s first #1 single. 1980- The song, “It’s Still Rock n’ Roll To Me” became Joel’s first #1 single. 1981 - Grammy Award for Best Rock Vocal Performance by a Male 1981 - Grammy Award for Best Rock Vocal Performance by a Male 1981 – People’s Choice Award for Favorite Male Pop Performer 1981 – People’s Choice Award for Favorite Male Pop Performer 1981 – Released a live album titled Songs in the Attic, which became Joel’s fourth consecutive top 10 album. 1981 – Released a live album titled Songs in the Attic, which became Joel’s fourth consecutive top 10 album.

11. Continued Success in the 1980s 1982 – The Nylon Curtain album was released, reached #7 on the Billboard charts, and was nominated for a Grammy. 1982 – The Nylon Curtain album was released, reached #7 on the Billboard charts, and was nominated for a Grammy. 1983 – An Innocent Man album was released, reached #4 on the Billboard charts, and was nominated for a Grammy. 1983 – An Innocent Man album was released, reached #4 on the Billboard charts, and was nominated for a Grammy. – The album generated six top 40 singles, three of which made it to the top 10, including the single, “Uptown Girl,” which was nominated for best pop vocal performance, male.

12. Continued Success of the 1990’s and 2000’s The 1970’s and 1980’s were the commercial peak of Joel’s career; however, he expanded his music through the 1990’s and 2000’s. The 1970’s and 1980’s were the commercial peak of Joel’s career; however, he expanded his music through the 1990’s and 2000’s. In 1993, Joel released the album River of Dreams, which included his last top 10 single by the same name. In 1993, Joel released the album River of Dreams, which included his last top 10 single by the same name. In 2001, Joel released an album of classical music titled Fantasies and Delusions: Music for Solo Piano,” which topped the charts. In 2001, Joel released an album of classical music titled Fantasies and Delusions: Music for Solo Piano,” which topped the charts. Also in 2001, Joel joined Elton John for the Face-to-Face tour. Also in 2001, Joel joined Elton John for the Face-to-Face tour.

13. Personal Life & Influences Joel’s music often reflected his experiences and personal life. Joel was married to Elizabeth Small from 1972 to 1983, and wrote several songs for her, including “Just the Way You Are.” Joel was married to Elizabeth Small from 1972 to 1983, and wrote several songs for her, including “Just the Way You Are.” After his divorce from Small, Joel dated supermodel Elle Macpherson, for whom he wrote “The Night” and “And So It Goes.” After his divorce from Small, Joel dated supermodel Elle Macpherson, for whom he wrote “The Night” and “And So It Goes.” In 1985, he married supermodel Christie Brinkley, the inspiration for “Uptown Girl.” The couple had one child, Alexa Ray, and divorced after nearly a decade. In 1985, he married supermodel Christie Brinkley, the inspiration for “Uptown Girl.” The couple had one child, Alexa Ray, and divorced after nearly a decade. In 2004, Joel, 55, married Katie Lee, 23, a TV food reporter. To mark their second wedding anniversary, Joel recorded the first new song in 14 years, “All my Life.” Lee and Joel separated in 2009. In 2004, Joel, 55, married Katie Lee, 23, a TV food reporter. To mark their second wedding anniversary, Joel recorded the first new song in 14 years, “All my Life.” Lee and Joel separated in 2009.

14. Today Joel has been in the news for alcohol abuse, and in 2005, entered a 30-day treatment center. Joel has been in the news for alcohol abuse, and in 2005, entered a 30-day treatment center. Joel continues to tour, and in 2008, he played the final concert in New York’s Shea Statium before demolition. Joel continues to tour, and in 2008, he played the final concert in New York’s Shea Statium before demolition. Joel and Elton John joined on a North American tour in 2009 -2010, and grossed nearly $90 million during the one-year tour. Joel and Elton John joined on a North American tour in 2009 -2010, and grossed nearly $90 million during the one-year tour.

15. Composition History Piano Man, Written and Performed by Billy Joel Recorded by Joel in September 1973 Recorded by Joel in September 1973 Released by Columbia Records on November 2, 1973 Released by Columbia Records on November 2, 1973 Produced by Michael Steward. Produced by Michael Steward. The song “Piano Man” was Joel’s first major hit and is considered his “signature song.” The song “Piano Man” was Joel’s first major hit and is considered his “signature song.” Joel’s experiences playing at the piano bar and his own feelings about his first album’s failure inspired him to write “Piano Man.” Joel’s experiences playing at the piano bar and his own feelings about his first album’s failure inspired him to write “Piano Man.” The characters in the song are based on the real people with whom Joel came in contact at The Executive Room, and the character “Bill” in the song is actually reference to Joel’s assumed name of Bill Martin. The characters in the song are based on the real people with whom Joel came in contact at The Executive Room, and the character “Bill” in the song is actually reference to Joel’s assumed name of Bill Martin.

16. Composition History Piano Man, Written and Performed by Billy Joel In an interview with Metro newspaper on July 6, 2006, Joel said: In an interview with Metro newspaper on July 6, 2006, Joel said: – “I have no idea why that song became so popular. It’s like a karaoke favorite. The melody is not very good and very repetitious, while the lyrics are like limericks.” “Piano Man” features the piano, harmonica, bass, accordion, mandolin, drums and vocals. “Piano Man” features the piano, harmonica, bass, accordion, mandolin, drums and vocals. Joel plays the harmonica and piano at the same time during the performance, and Joel has said the harmonica part was inspired by Bob Dylan, as he was the first person Joel had seen use a strap to hold the harmonica so he could play another instrument at the same time. Joel plays the harmonica and piano at the same time during the performance, and Joel has said the harmonica part was inspired by Bob Dylan, as he was the first person Joel had seen use a strap to hold the harmonica so he could play another instrument at the same time.

17. Composition History Movin’ Out (Anthony’s Song) Written and Performed by Billy Joel Recorded by Joel in 1977 Recorded by Joel in 1977 Released by Columbia Records on The Stranger on November 1, 1977 Released by Columbia Records on The Stranger on November 1, 1977 Produced by Phil Ramone Produced by Phil Ramone Joel wrote of his disgust at how working-class and lower- middle-class New Yorkers took pride in working too hard for long hours just to be able to afford the material things that would make it look like they “made it.” Joel wrote of his disgust at how working-class and lower- middle-class New Yorkers took pride in working too hard for long hours just to be able to afford the material things that would make it look like they “made it.” The characters had stereotypical ethic names, such as Anthony, Mama Leone, Sergeant O’Leary, and Mr. Cacciatore. The characters had stereotypical ethic names, such as Anthony, Mama Leone, Sergeant O’Leary, and Mr. Cacciatore. All they got in the end of their hard word was a “heart attack” or “a broken back.” All they got in the end of their hard word was a “heart attack” or “a broken back.”

18. Composition History Only the Good Die Young Written and Performed by Billy Joel Recorded by Joel in 1977 Recorded by Joel in 1977 Released by Columbia Records on The Stranger on November 1, 1977 Released by Columbia Records on The Stranger on November 1, 1977 Produced by Phil Ramone Produced by Phil Ramone Originally recorded with a Reggae groove, but changed because Joel’s drummer did not like the Reggae beat. Originally recorded with a Reggae groove, but changed because Joel’s drummer did not like the Reggae beat. Very controversial song when released in 1977, as Joel wrote it from the viewpoint of a young man trying to convince a Catholic girl, a virgin, to have sex with him. Very controversial song when released in 1977, as Joel wrote it from the viewpoint of a young man trying to convince a Catholic girl, a virgin, to have sex with him. Joel knew it would be controversial when he wrote it, but the controversy just made the song more popular. The song did not do well until Church officials around the United States heard it and started condemning it. In an interview with Metro newspaper on July 6, 2006, Joel said: Joel knew it would be controversial when he wrote it, but the controversy just made the song more popular. The song did not do well until Church officials around the United States heard it and started condemning it. In an interview with Metro newspaper on July 6, 2006, Joel said: – “Then it was banned by a radio station in New Jersey at a Catholic university. The minute the kids found out it was banded, they ran out in droves and it became a huge hit.”

19. Listening Guide Piano Man: 5:38 Written by Billy Joel, Performed by Billy Joel Major Mode Major Mode Tonal Tonal Triple-simple meter Triple-simple meter Comfortable and Familiar Comfortable and Familiar Simple formal structure: Simple formal structure: – Introduction | Verse 1 | Chorus | Verse 2 | Verse 3 | Chorus | Verse 4 | Chorus | Repeat of Chorus. Homophonic texture Homophonic texture Unique in that Joel is singing and playing both the harmonica and piano Unique in that Joel is singing and playing both the harmonica and piano

20. Listening Guide Piano Man: 5:38 Written by Billy Joel, Performed by Billy Joel 0:00 The introduction starts with one piano chord, and then some trills and scales contrasting with chords on the piano. The notes are soft, quick and a little dissonant, before the harmonica joins in with a very clear melody. 0:00 The introduction starts with one piano chord, and then some trills and scales contrasting with chords on the piano. The notes are soft, quick and a little dissonant, before the harmonica joins in with a very clear melody. 0:09 The introduction continues at a moderate speed, with the piano establishing the theme, and the harmonica joins the piano. 0:09 The introduction continues at a moderate speed, with the piano establishing the theme, and the harmonica joins the piano. 0:32 Verse 1 starts with the lyrics being sung in a calm, matter-of-fact manner, with a piano accompaniment in three-quarter time. 0:32 Verse 1 starts with the lyrics being sung in a calm, matter-of-fact manner, with a piano accompaniment in three-quarter time. 0:46 In the middle of the verse, there is a break in the lyrics and the harmonica plays a melody, and the piano accompanies. Toward the end of this section, there is a gradual increase in volume and intensity of the piano, again building anticipation to the continuation of the lyrics. 0:46 In the middle of the verse, there is a break in the lyrics and the harmonica plays a melody, and the piano accompanies. Toward the end of this section, there is a gradual increase in volume and intensity of the piano, again building anticipation to the continuation of the lyrics. 1:00 Verse 1 continues, but the music and lyrics are given more volume and intensity as the verse continues. Other instruments, most prominently the mandolin, join the accompaniment, giving the melody a rich tone. 1:00 Verse 1 continues, but the music and lyrics are given more volume and intensity as the verse continues. Other instruments, most prominently the mandolin, join the accompaniment, giving the melody a rich tone. 1:15 There is a transition between each verse and the chorus, in which Joel sings “La la la…” to the melody. 1:15 There is a transition between each verse and the chorus, in which Joel sings “La la la…” to the melody.

21. Listening Guide Piano Man: 5:38 Written by Billy Joel, Performed by Billy Joel 1:25 The Chorus begins and ends with a harmonica solo playing the same theme/melody as it does throughout the song. The chorus is a simple melody with the piano accompaniment of simple three-quarter tempo. It is familiar and comfortable, which lends to the popularity of the song. 1:25 The Chorus begins and ends with a harmonica solo playing the same theme/melody as it does throughout the song. The chorus is a simple melody with the piano accompaniment of simple three-quarter tempo. It is familiar and comfortable, which lends to the popularity of the song. 1:56 Verse 2 begins and is the same as Verse 1 without the harmonica playing between the first and second part of the Verse. 1:56 Verse 2 begins and is the same as Verse 1 without the harmonica playing between the first and second part of the Verse. 2:15 The second part of Verse 2, significantly crescendos both in volume and in intensity of the piano. 2:15 The second part of Verse 2, significantly crescendos both in volume and in intensity of the piano. 2:43 Verse 3 starts right after the transition of “La la la…” at the end of Verse 2, with no chorus between. 2:43 Verse 3 starts right after the transition of “La la la…” at the end of Verse 2, with no chorus between. 3:09 Crescendo of volume and intensity, both of the lyrics and instruments, starts at the second portion of Verse three, and continues through the end of Verse 3. 3:09 Crescendo of volume and intensity, both of the lyrics and instruments, starts at the second portion of Verse three, and continues through the end of Verse 3. 3:26 The intensity that has built through the lyrics continues, and instead of singing “La la la…” as in the other verses, there is a piano solo of intense and dissonant runs, which is a variation on the theme, leading into the chorus. 3:26 The intensity that has built through the lyrics continues, and instead of singing “La la la…” as in the other verses, there is a piano solo of intense and dissonant runs, which is a variation on the theme, leading into the chorus.

22. Listening Guide Piano Man: 5:38 Written by Billy Joel, Performed by Billy Joel 3:42 The Chorus is played with great intensity, beginning and ending with the harmonica solo. The chorus is a simple melody with the piano accompaniment of simple three-quarter tempo. It is familiar and comfortable, which lends to the popularity of the song. 3:42 The Chorus is played with great intensity, beginning and ending with the harmonica solo. The chorus is a simple melody with the piano accompaniment of simple three-quarter tempo. It is familiar and comfortable, which lends to the popularity of the song. 4:11 Verse 4 starts in the same calm lyrically style as Verse 1; however, there is not a harmonica transition from the first and second portions of the verse. 4:11 Verse 4 starts in the same calm lyrically style as Verse 1; however, there is not a harmonica transition from the first and second portions of the verse. 4:29 As the second half of the verse starts, there is a dramatic crescendo in volume and intensity, with a very passionate expression of the lyrics. 4:29 As the second half of the verse starts, there is a dramatic crescendo in volume and intensity, with a very passionate expression of the lyrics. 4:47 Diminuendo of volume to the transition of “La la la….” Then immediate crescendo into to last Chorus, with the mandolin playing a melody in contrast to that of the piano, giving the song a really interesting and unique sound. 4:47 Diminuendo of volume to the transition of “La la la….” Then immediate crescendo into to last Chorus, with the mandolin playing a melody in contrast to that of the piano, giving the song a really interesting and unique sound. 5:24 The piano continues playing the theme, softening, then ending. 5:24 The piano continues playing the theme, softening, then ending. 5:36 End 5:36 End

23. Listening Guide Movin’ Out (Anthony’s Song): 3:28 Written by Billy Joel, Performed by Billy Joel Major Mode Major Mode Simple meter Simple meter Creative accompaniment, in which syncopation and cymbals accent the lyrics Creative accompaniment, in which syncopation and cymbals accent the lyrics Form: Form: – Introduction | Verse 1 | Chorus | Verse 2 | Chorus | Bridge | Chorus | Coda. Homophonic texture Homophonic texture

24. Listening Guide Movin’ Out (Anthony’s Song): 3:28 Written by Billy Joel, Performed by Billy Joel 0:00 Introduction starts with a strong note, immediately playing the theme that continues through the entire song. The drums are prominent and consistent throughout the song, and you can hear the bass guitar keeping a steady beat. 0:14 Verse 1 begins. Syncopation is used to really accent the words of the song, giving it an almost playful tone. 0:00 Introduction starts with a strong note, immediately playing the theme that continues through the entire song. The drums are prominent and consistent throughout the song, and you can hear the bass guitar keeping a steady beat. 0:14 Verse 1 begins. Syncopation is used to really accent the words of the song, giving it an almost playful tone. 0:31 Emphasis on the second syllable of attack, with “ack” being repeated five times. The last “ack” is held for several beats. The tempo then slows during the words “you oughta know by now.” The tempo resumes and the verse continues. These variations in tempo and use of the lyrics really add to the unique quality of the song. 0:31 Emphasis on the second syllable of attack, with “ack” being repeated five times. The last “ack” is held for several beats. The tempo then slows during the words “you oughta know by now.” The tempo resumes and the verse continues. These variations in tempo and use of the lyrics really add to the unique quality of the song. 0:43 The Chorus starts at a much slower tempo. Chorus: Slower tempo than the rest of the song, then dragging out the work “I’m” for at least four beats, then the original tempo resumes with the words “movin’ out” with emphasis on the beats. 0:43 The Chorus starts at a much slower tempo. Chorus: Slower tempo than the rest of the song, then dragging out the work “I’m” for at least four beats, then the original tempo resumes with the words “movin’ out” with emphasis on the beats. 1:10 Verse 2 begins, and is the same as Verse 1, with the same use of syncopation. This time, the last syllable of Cadillac is repeated five times. 1:10 Verse 2 begins, and is the same as Verse 1, with the same use of syncopation. This time, the last syllable of Cadillac is repeated five times.

25. Listening Guide Movin’ Out (Anthony’s Song): 3:28 Written by Billy Joel, Performed by Billy Joel 1:38 The Chorus repeats again, with the tempo slowing. The first and third beats are strongly accented by the snare drum, giving emphasis to the slower tempo. 1:38 The Chorus repeats again, with the tempo slowing. The first and third beats are strongly accented by the snare drum, giving emphasis to the slower tempo. 2:09 The bridge is fairly short, and it is the same tempo as both Verse 1 and Verse 2. It sounds like the Verse, but is varied and shortened. 2:09 The bridge is fairly short, and it is the same tempo as both Verse 1 and Verse 2. It sounds like the Verse, but is varied and shortened. 2:35 The Coda begins with the theme continuing to play with no lyrics. 2:35 The Coda begins with the theme continuing to play with no lyrics. 2:47 There is the sound of a motor revving, then tires screeching, as it sounds like a muscle car is peeling out and driving away. The piano and drums continue to play, eventually fading out. 2:47 There is the sound of a motor revving, then tires screeching, as it sounds like a muscle car is peeling out and driving away. The piano and drums continue to play, eventually fading out. 3:28 End 3:28 End

26. Listening Guide Only the Good Die Young: 3:53 Written by Billy Joel, Performed by Billy Joel Major Mode Major Mode Tonal Tonal Quadruple-simple meter Quadruple-simple meter Simple formal structure: Simple formal structure: – Introduction | Verse 1 | Verse 2 | Chorus | Verse 3 | Verse 4 | Chorus | Bridge | Verse 5 | Chorus | Interlude | Second Bridge | Verse 6 | Chorus | Chorus Repeat. Homophonic texture Homophonic texture Form is unique in that there are two bridges Form is unique in that there are two bridges

27. Listening Guide Only the Good Die Young: 3:53 Written by Billy Joel, Performed by Billy Joel 0:00 The introduction starts with the piano softly introducing the theme. 0:00 The introduction starts with the piano softly introducing the theme. 0:13 Verse 1 starts with the drums playing a pickup, with guitar coming in as the prominent sound playing the beat. It is clearly quadruple meter, with emphasis on the first and third beats during the verses. During the last sentence of each verse, the accompaniment stops, except for the guitar playing two chords and the very light sound of the snare drum keeping the beat under the lyrics. 0:13 Verse 1 starts with the drums playing a pickup, with guitar coming in as the prominent sound playing the beat. It is clearly quadruple meter, with emphasis on the first and third beats during the verses. During the last sentence of each verse, the accompaniment stops, except for the guitar playing two chords and the very light sound of the snare drum keeping the beat under the lyrics. 0:27 Verse 2 is the same as Verse 1, with the theme continuing and the guitar and drums having the dominant sound. 0:27 Verse 2 is the same as Verse 1, with the theme continuing and the guitar and drums having the dominant sound. 0:40 The Chorus continues at the same tempo and theme; however, there is syncopation with emphasis on the second beat. 0:40 The Chorus continues at the same tempo and theme; however, there is syncopation with emphasis on the second beat. 0:54 Verse 3 is the same as previous verses except for the lyrics. The theme continues and the guitar and drums are the dominant sounding instruments. 0:54 Verse 3 is the same as previous verses except for the lyrics. The theme continues and the guitar and drums are the dominant sounding instruments. 1:06 Verse 4 starts, and continues with the same theme. It does not vary from previous verses except for the lyrics. 1:06 Verse 4 starts, and continues with the same theme. It does not vary from previous verses except for the lyrics. 1:19 The Chorus continues at the same tempo and theme; however, there is syncopation with emphasis on the second beat. Also, there is a saxophone that plays contrast to the melody, and adds a really unique sound to the chorus. 1:19 The Chorus continues at the same tempo and theme; however, there is syncopation with emphasis on the second beat. Also, there is a saxophone that plays contrast to the melody, and adds a really unique sound to the chorus.

28. Listening Guide Only the Good Die Young: 3:53 Written by Billy Joel, Performed by Billy Joel 1:34 The bridge has the same tempo and there is syncopation for emphasis and drama on the words. 1:34 The bridge has the same tempo and there is syncopation for emphasis and drama on the words. 2:02 Verse 5 is the same as previous verses. 2:02 Verse 5 is the same as previous verses. 2:13 The Chorus plays, with syncopation for emphasis and the saxophone added. 2:13 The Chorus plays, with syncopation for emphasis and the saxophone added. 2:28 An instrumental bridge starts with a piano solo, leading into a saxophone solo with piano accompaniment. 2:28 An instrumental bridge starts with a piano solo, leading into a saxophone solo with piano accompaniment. 2:40 The second bridge continues with lyrics. 2:40 The second bridge continues with lyrics. 2:51 Verse 6 starts and although it is very similar to the previous verses, there is more going on with the music. Specifically, the piano plays short staccato notes in the background, giving it a Jerry Lee Lewis, 1950’s feel. 2:51 Verse 6 starts and although it is very similar to the previous verses, there is more going on with the music. Specifically, the piano plays short staccato notes in the background, giving it a Jerry Lee Lewis, 1950’s feel. 3:05 The Chorus plays, with syncopation for emphasis and the saxophone added. 3:05 The Chorus plays, with syncopation for emphasis and the saxophone added. 3:19 The Chorus repeats, sounding the same as the previous ones; however, there is much more going on with the piano accompaniment. 3:19 The Chorus repeats, sounding the same as the previous ones; however, there is much more going on with the piano accompaniment. 3:30 Chorus continues to repeat while fading 3:30 Chorus continues to repeat while fading 3:53 End 3:53 End

29. Bibliography "Billy Joel Biography." Band Biographies. N.p., n.d. Web. 26 Sept. 2011.. "Billy Joel Biography & Timeline." Billy Joel. N.p., n.d. Web. 26 Sept. 2011.. "Billy Joel Biography - Biography.com." Biography.com. N.p., n.d. Web. 26 Sept. 2011.. "Billy Joel bio - short biography." Songwriting Tips: Song Writing, How to Write a Song, Songwriter. N.p., n.d. Web. 26 Sept. 2011.. "Billy Joel – Piano Man – Video, listening & stats at Last.fm." Last.fm - Listen to free music with internet radio and the largest music catalogue online. N.p., n.d. Web. 26 Sept. 2011.. "Billy Joel’s Biography – Free listening, videos, concerts, stats, & pictures at Last.fm." Last.fm - Listen to free music with internet radio and the largest music catalogue online. N.p., n.d. Web. 26 Sept. 2011.. "Only The Good Die Young by Billy Joel Songfacts." Song Meanings at Songfacts. N.p., n.d. Web. 26 Sept. 2011.. Waddell, R. (2009). BILLY JOEL. Billboard, 121(18), 25. Retrieved from EBSCOhost.