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Table 2.1. Author’s analysis of “Thunder Road” by Bruce Springsteen.

Table 2.2. Author’s analysis of “Movin’ Out (Anthony’s Song)” by Billy Joel.

Figure 3.1. Author’s transcription of the piano solo under verse 5 of “The Entertainer” by Billy Joel.

Figure 3.2. Author’s transcription of piano solos from three performances of “Travelin’ Prayer” by Billy Joel.

Table 4.1. Examples of the “Short-Short-Long” pattern in Billy Joel’s Music.

Figure 4.1. Sentence structure in Beethoven, Piano Sonata, Op. 2/1/i, mm. 1–8.

Table 4.2. Caplinian terminology needed for most eight-bar musical units.

Figure 4.2a. Sentence structure in “The Longest Time” by Billy Joel. Verse.

Figure 4.2b. Sentence structure in “Leningrad” by Billy Joel. Verse.

Figure 4.3a. Period structure in “Piano Man” by Billy Joel. Chorus.

Figure 4.3b. Period structure in “And So It Goes” by Billy Joel. Verse.

Figure 4.4. Hybrid (Type-3) structure in “Vienna” by Billy Joel. Verse.

Figure 4.5. Compound Period structure in “The Stranger” by Billy Joel. Verse.

Figure 4.6. Compound Period structure in “Honesty” by Billy Joel. Verse (a) and Chorus (b).

Figure 4.7. “Scenes from an Italian Restaurant” by Billy Joel.

Figure 4.8. Compound Hybrid structure in “You May Be Right” by Billy Joel. Verse 1 (a), Verses 1 and 2 (b), and Chorus (c).

Figure 4.9. Compound Period structure in “Just the Way You Are” by Billy Joel. Verse/refrain 1, mm. 1–32 (a), Bridge (b), and Analysis as small ternary form (c).

Figure 9.1. An early draft of “My Life” by Billy Joel, from the 52nd Street notebook.

Figure 9.2. The Billy Joel case in the “Legends of Rock” exhibit.

Table 9.1. Song lists from Billy Joel’s 52nd Street notebook, showing the song order from the beginning and middle of the notebook, and the final song order as it appears on the album.

Table 9.2. The list of song ideas for the album, House of Blue Lights [later titled Storm Front], from the first page of the Storm Front notebook.