Analyzing your Pop/Rock Songs

When I was a student at the Cleveland Institute of Music, I spent A LOT of time analyzing classical music and discussing tonal structure and form. I’m sure many of my readers had similar experiences and today I want to share some great news – those same skills can be used to learn pop/rock style! The reality is no one lives in an artistic vacuum. All artists learn from those who came before them and they draw upon those influences to find their own artistic voice (check out “Steal like an Artist” by Austin Kleon).

When students are learning to sing in a new style, it is very beneficial for them to really dive into each piece and analyze the little details that come together to create the bigger picture. I call this listening on the micro level (small details) instead of the macro level (the big picture). Today I am sharing a PDF of a worksheet that I use with my students to do just that. You can download the worksheet here (Analyzing Your Pop_Rock Song Worksheet) and you have permission to print and distribute it as long as the copyright statement at the bottom remains in place.

Let’s walk through the steps. 

The first time you listen to the song you are going to pay attention to the following:

  • Does the text tell a story or set a mood? For instance “The Story” by Brandi Carlisle tells a story, but “Good for you” by Selena Gomez sets a mood.
  • Is the song melodic, rhythmic, or a combination? “Don’t” by Ed Sheeran would be considered primarily rhythmic, whereas “Faithfully” by Journey would be considered melodic. Many songs mix together elements of both.
  • What is the primary register? You can use whatever terms you prefer for this – chest, head, chest-mix, head-mix; thin fold, thick fold; curb, overdrive; etc.
  • Are there register changes/breaks? If yes, mark them in your music. 
  • What is the perceived effort level? Does it sound like the singer is using low, medium, or high effort when singing.

Next you are going to listen for rhythmic emphasis in both the accompaniment and the vocal line and determine whether the emphasis is primarily on 1 and 3 or 2 and 4. You will then use a carrot (“<“) to mark the emphasis in both the accompaniment and the vocal line.

After you have determined the rhythmic emphasis, listen for words and consonants that are emphasised and underline them.

Next ask yourself whether the diction is crisp (for example “Stay” by Lisa Loeb”) or more lazy (for example “Blowin’ in the Wind” as performed by Bob Dylan). Think about how you would describe the tone quality – is it dark, bright, speech-like/neutral, etc. Also listen for an accent. This is rare, but if you are trying to sing a country song or a British rock song, it should be considered.

Next you want to think about what is happening at the laryngeal level. Does the voice sound free (neutral/free-floating larynx) or does it sound constricted (locked/high larynx). Then you want to listen to the onsets and releases in the song and determine if they are clean, glottal, aspirate, fry, etc. You will also want to mark scoops, slides, fall-offs, and other phrasing choices. Finally, mark any instances where there is vibrato. The assumption in pop/rock is that the voice will be straight-tone, but depending on the style this may not always be the case.

In addition to being a great exercise for your students, this process also takes some of the pressure off of you (the teacher) to be an expert at every style. I primarily teach CCM music and no matter how much I listen to Spotify, I cannot keep up with the tastes of my students. Some sources claim there are over 35 million songs on iTunes. If that is true, it is IMPOSSIBLE to listen to every song in the iTunes catalog in your lifetime. So instead of trying to spend your whole life catching up on all of the sub-genres that are constantly evolving, teach your students to analyze their own songs and you will set them up for a lifetime of success.

If you are looking for songs from pop/rock musicals, be sure to check out Thanks for reading!

Matt Edwards, Artistic Director of the CCM Voice Pedagogy Institute and Associate Professor of Voice and Voice Pedagogy at Shenandoah Conservatory and