In Billy Joel's "Piano Man," the distinct rhythm and meter are crucial in effectively conveying the artist's message to the audience. The song primarily adopts a triple meter, evident in its rhythmic structure. However, certain sections, like the line "the mood for a melody," feature fluid passages where the meter becomes less pronounced. Despite this, the overall meter in "Piano Man" remains noticeable and contributes significantly to the song's intended meaning. Dotted rhythms, such as the recurring phrase "La la la, di da," not only enhance the song's musical structure but also add rhythmic intrigue.
The song also showcases harmonious interplay among different pitches, with the artist simultaneously playing multiple notes. This can be exemplified in the line "got us feeling alright," which serves as a notable demonstration of effective harmony in "Piano Man." The presence of polyphony is notable throughout the song, as various melodies coexist and vie for prominence within the music. The artist skillfully combines these melodies, resulting in a harmonious composition. Additionally, instances of consonance, such as the phrases "joyful loneliness" and "Sing us a song, you're the piano man," contribute to the overall musical cohesion.
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However, the song officially begins in 3/4 time which is, accompanied by a descending bass line. It then follows a chord progression of C, F, and G to resolve back to the major key of C. During the "la-la" section, there is a shift to A Minor, utilizing a secondary leading tone for the F# diminished chord, before returning to the dominant (V) of C Major. These borrowed "minor" chords contribute to the song's minor tonality. While "Piano Man" predominantly resides in C Major, Billy Joel incorporates the key of A Minor and employs secondary leading tones to introduce tension and ultimately resolve back to C