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‪When analysing a song, one translates what one hears in it, putting words on what we consider important or relevant in the sound as we perceive them. We may do so in formal situations (e.g. musical teaching or training), or in everyday interaction; only for ourselves, or to communicate with other persons. By doing so, we offer a way of listening which is our own, as often as not, different from what another person would notice. This paper elaborates such a conception of musical analysis, using a fieldwork from 2006, where the author had the opportunity of discussing and reshaping her songs analyses through discussions and observations of the musiciens who had created and performed them. Three main examples are discussed: what may be heard as a refrain in a song; how a music can be perceived as rock, and not as ‪‪chanson‪‪; what, in mixing, is actually music analysis, even if it is not in words and discourse‪