Dirty Little Secret by The All-American Rejects

The song I am analyzing is Dirty Little Secret by the All-American Rejects. The key of the song is B Flat major. The chords consist of G, D, Em, C, Am, B, and F. The Roman numerals for this chords, in that order are vi, iii, iv, ii, vii, I, and V. Something that is strange about this song is the fourth chord, the E, is made minor, where in the expected pattern of major and minor chords, it is major. The song does not make much use of dominant chords, and only really uses predominant ones. The only dominant chords are F and B, which only show up once in one of the prechoruses, and at the conclusion of the song. Also, the majority of the chords in the song are minor. Nothing else in the song really sticks out as being unusual.

Take On Me by A-ha

The song is Take On Me by A-ha. I chose this song because of the clear and distinct interval at the very beginning of the chorus. The first two notes of the chorus make a major 7th interval. This interval occurs throughout the song, specifically at 0:54-55; 1:33-1:35; and 2:53-2:54.

Latch by Disclosure Featuring Sam Smith

The song is Latch by Disclosure featuring Sam Smith. Section 0:00 - 0:49 is composed of the same beat throughout the verse, in the background. Then from 0:50 - 1:18 the beat changes, to something much more legato, slowing things down throughout the bridge into the chorus, creating a build up. 1:19 - 1:50 is the chorus, and the vocalist jumps up to a much higher octave, surprising listeners. 1:51 - 2:23 goes back to the same melody as in the first section, as it moves through verse two. 2:24- 3:09 goes back to the more legato melody and rhythm, but it is extended for a longer period of time, adding even more build up to the chorus. 3:10 - 3:40 is the same as the chorus before, but after, during 3:41 - 3:58, the vocalist layers his voice so that one is harmony and one is melody in a sort of call and response form. 3:39 - 4:17, which is the end, goes back to the same as the first section, and then fades out to finish the song. This song did not identify as one clear form, but rather changed form throughout. In the beginning, it was ostinato in the first section, then it was sequence during the chorus, and even had a call and response thrown in towards the end.

Holding A Heart by Girl Named Toby

This song is Holding A Heart, by Girl Named Toby.
The range of the melody is fairly limited, because it mostly stays within one octave throughout the song.
The melodic intervals are mostly conjunct, because they sound as if they are going step-wise for the majority of the piece.
The meter is in 4/4, because there is an emphasis on 1,2,3,4 and the downbeat happens after every 4th note. This all makes it duple simple.
The tempo is more allegro moderato, because the rhythm is going fairly quickly, even though the lyrics are more legato.
The texture is more homophonic, because there is a melody, and it is accompanied by harmonies and other instruments.

La Vie en Rose cover by Louis Armstrong

This is a La Vie en Rose cover by Louis Armstrong. The original song was sung by French cabaret singer, Edith Piaf, written in 1945. The Armstrong cover has more of a jazz aspect to it. The intro sounds like a piano and another instrument in the background, which leads seamlessly into the trumpet part, which is played at a forte, while the piano can be heard faintly, accompanying it in the background. The melody of the trumpet stands out, while the harmony plays in the undertone of the piece. Most of the trumpet part is played in disjunct, though there are a few parts in conjunct, where the piece goes step by step. The rhythm is very fast paced, and the style this particular cover is very distinctly jazz. The texture of the piece is made so that the melody stands out far more, and the harmony is quietly in the background.