The Best Examples of Famous AABA Songs Analysis (With Real Songs)

Instead of beginning with dry theory, let’s start with what your ears already know: the songs. When people ask for examples of famous AABA songs analysis, they’re usually thinking of standards, Beatles tracks, and big pop ballads. So we’ll walk through several real examples and then pull out the patterns they share.

You’ll see that while every song is different, the core idea is simple:

• A sections: Same melody, usually similar chords and lyrics that rhyme in a repeating pattern.
• B section: A contrasting part (often called the bridge or middle eight) with new chords, new melody, and sometimes a new lyrical angle.

Let’s walk through some of the best examples of AABA in action.

Classic Standards: The Clearest Examples of Famous AABA Songs

“Over the Rainbow” – Judy Garland (1939)

If you want one perfect example of AABA structure, this is it.

• First A: “Somewhere over the rainbow, way up high…” introduces the main melody and emotional theme: longing for a better place.
• Second A: “Somewhere over the rainbow, skies are blue…” repeats the same melodic shape and chord movement, with slightly varied lyrics that deepen the idea.
• B (Bridge): “Someday I’ll wish upon a star…” shifts the harmony and melody, opening up the feeling and moving into more hopeful imagery.
• Final A: Returns to the original melody and harmony, reinforcing the central emotional hook.

In many examples of famous AABA songs analysis, “Over the Rainbow” is the go-to because it’s so clean: no chorus, no pre-chorus, just verse-like A sections and a contrasting B.

For a deeper look at this song’s historical context, the Library of Congress has an article on its impact and legacy: https://www.loc.gov/item/ihas.200156436/

“Blue Moon” – Rodgers & Hart (1934)

Another standard that shows up in almost every list of examples of famous AABA songs is “Blue Moon.”

• The A sections carry the familiar, floating melody: “Blue moon, you saw me standing alone…” Each A repeats that melodic contour with slightly different lyrics.
• The B section (“And then there suddenly appeared before me…”) changes the chord progression and ramps up the emotional intensity.

When you’re studying examples of famous AABA songs analysis, notice how both “Blue Moon” and “Over the Rainbow” use the B section to turn the emotional dial rather than to introduce a brand-new topic.

The Beatles: AABA in 60s Pop

The Beatles are some of the best real examples of how AABA moved from Broadway and jazz standards into pop and rock.

“Yesterday” – The Beatles (1965)

“Yesterday” is one of the clearest Beatles examples of famous AABA songs analysis.

• First A: “Yesterday, all my troubles seemed so far away…” – main melodic idea, simple chords, strong lyrical hook.
• Second A: “Suddenly, I’m not half the man I used to be…” – same melody, new lyrics that deepen the sense of loss.
• B section: “Why she had to go, I don’t know, she wouldn’t say…” – new melodic contour, more movement in the chords, and a more direct focus on the breakup.
• Final A: Returns to “Yesterday…” and closes the emotional loop.

In a lot of modern songwriting, people think in terms of verse–chorus, but examples include songs like “Yesterday” where the A section functions as both verse and chorus. The hook lives inside the A, and the B is just a short detour.

“I Want to Hold Your Hand” – The Beatles (1963)

This one is a bit more hybrid, but it’s often discussed in examples of famous AABA songs analysis because the core structure is AABA at heart.

• The A sections carry the main hook (“I want to hold your hand”) and repeat the same melodic and rhythmic idea.
• The B section (“And when I touch you, I feel happy inside…”) shifts harmony and melody, creating a clear contrast before returning to the main idea.

If you’re writing pop and think AABA is “old-fashioned,” songs like this are a reminder: the form is still baked into music people love.

For further reading on Beatles song structures, you can explore analytical resources like the educational pages from the Rock and Roll Hall of Fame’s classroom materials: https://www.rockhall.com/education

Jazz Standards: AABA as the Default

In jazz, AABA is everywhere. Many jazz musicians learn standards by recognizing AABA forms on the fly.

“All the Things You Are” – Jerome Kern (1939)

This standard is slightly more harmonically complex, but structurally it’s still AABA.

• The A sections share the same melodic ideas and chord movement through multiple key centers.
• The B section contrasts both harmonically and melodically, creating a sense of journey before returning to the final A.

When you see jazz educators talk about form on sites like Berklee’s online resources (https://online.berklee.edu), examples of famous AABA songs analysis almost always include this tune because it’s such a training ground for improvisers.

“Rhythm Changes” Tunes (Based on “I Got Rhythm”)

“I Got Rhythm” by George Gershwin gave birth to an entire family of jazz tunes using its chord changes, commonly called “Rhythm Changes.” Many of these are in AABA form.

• A sections: Use variations of the same chord progression and basic melodic contour.
• B section: Often cycles through dominant chords in a way that clearly stands apart from the A.

If you’re looking for real examples of AABA that jazz players use daily, Rhythm Changes tunes are at the top of the list.

Modern and Late-20th-Century Examples of Famous AABA Songs

A lot of writers assume AABA disappeared once big choruses took over, but that’s not quite true. While verse–chorus forms dominate pop radio, you can still find examples of famous AABA songs in later decades—sometimes pure, sometimes blended with other forms.

“Bridge Over Troubled Water” – Simon & Garfunkel (1970)

This song stretches the form and layers on arrangement changes, but underneath, there’s a strong AABA backbone.

• The A sections carry the main title line and central melodic idea.
• The B section introduces new melodic material and harmonic colors, providing a lift before returning to the A idea.

It’s a good example of how AABA can be dramatically arranged so it doesn’t feel like a small, tidy standard, yet the skeleton is still there.

“You’ve Got a Friend” – Carole King (1971)

Carole King often used classic forms in a very natural, conversational way.

• The A sections establish the core message of support and friendship with a repeating melodic pattern.
• The B section (“Hey, ain’t it good to know that you’ve got a friend…”) shifts the harmony and melody, feeling like an emotional lift.

When teachers create examples of famous AABA songs analysis for singer–songwriters, this track often appears because it shows how AABA can feel intimate and story-driven.

AABA Influences in 21st-Century Pop

By the 2000s and 2010s, pure AABA songs became less common on mainstream US radio, but the influence is still there. You’ll find tracks where:

• The A sections act like verses with a built-in hook.
• The B section feels like a pre-chorus or short bridge.
• A separate, repeated chorus may be added, turning pure AABA into a hybrid.

Music education programs and songwriting courses (for example, those referenced by institutions like the National Association for Music Education at https://nafme.org) still teach AABA because understanding these examples of famous AABA songs analysis helps writers see how modern songs are often just variations on older blueprints.

How to Hear AABA: Using These Examples in Your Own Writing

Once you’ve walked through these examples of famous AABA songs analysis, the next step is training your ear and then trying the form yourself.

Here’s a simple way to practice, using the songs above as models:

1. Listen for Repeated Melodic Blocks

Play “Over the Rainbow” or “Yesterday” and notice how the first A section returns with the same melody. Sing along and feel where the repetition happens. Then compare that to the B section, where your voice suddenly has to move differently.

When you build your own AABA song, write one strong 8-bar or 16-bar section first (your A). Then copy and slightly adjust the lyrics for the second A, just like the examples include in the standards.

2. Make the B Section Truly Contrast

In every strong example of AABA, the B section doesn’t just change one tiny thing. It usually changes several:

• Harmony: New chords or a different key area.
• Melody: Different shape, rhythm, or range.
• Lyrics: A new angle—zooming out, asking a question, or revealing a twist.

Listen to “Why she had to go…” in “Yesterday” and compare it to the earlier A lines. That’s the feeling you’re aiming for: a detour that makes the return to A feel fresh.

3. Decide If You Need a Chorus

Many of the best examples of famous AABA songs don’t have a separate chorus; the A section itself functions as the hook. If you want a more classic, intimate feel (like a standard or a singer–songwriter ballad), you can keep it pure AABA.

If you want a modern radio style, you might:

• Use AABA for your verses and bridge.
• Add a separate chorus that repeats the title.

Even then, studying these examples of famous AABA songs analysis gives you a strong sense of pacing: how long to stay in one section, when to introduce contrast, and when to bring listeners back.

Why AABA Still Matters in 2024–2025

In 2024–2025, most chart-topping songs are built on verse–pre-chorus–chorus structures, often with a post-chorus or hook section. But music schools, songwriting workshops, and even online learning platforms still teach AABA because:

• It’s a simple, clear way to understand song form.
• It trains you to write strong, self-contained sections (A) and meaningful contrast (B).
• It shows how older standards and modern pop share the same DNA.

If you look at university-level songwriting syllabi (for example, those at large public universities listed through resources like https://nces.ed.gov/collegenavigator/), you’ll often see assignments that ask students to analyze standards using AABA, then write their own. Those assignments are built around exactly the kind of examples of famous AABA songs analysis we’ve covered here.

The takeaway: even if you never release a pure AABA song, mastering this form will sharpen your sense of structure and make your verses, bridges, and hooks much stronger.

FAQ: Examples of Famous AABA Songs, Explained

What are some of the best examples of famous AABA songs I should study first?

Start with clear, classic tracks. The best examples include “Over the Rainbow” (Judy Garland), “Blue Moon” (Rodgers & Hart), “Yesterday” (The Beatles), and “All the Things You Are” (Jerome Kern). These are the kinds of songs teachers use when they put together examples of famous AABA songs analysis for beginners.

How can I tell if a song is AABA or verse–chorus?

Listen for repetition. In AABA, the A section’s melody returns at least three times, with a shorter contrasting B in the middle. There’s usually no big, separate chorus. In verse–chorus songs, the chorus feels like its own, clearly repeated hook. Use the examples include above as a reference and compare new songs you hear.

Can modern pop songs still use AABA?

Yes, though it’s less common as a pure form. Some modern songs hide AABA inside more complex layouts, or they use AABA-inspired bridges and verses. Even if you don’t hear a lot of pure AABA on today’s charts, studying examples of famous AABA songs analysis will give you a strong toolkit for building contrast and pacing in any style.

Is AABA only for jazz and old standards?

Not at all. While many jazz standards and Broadway tunes use AABA, artists like The Beatles, Simon & Garfunkel, and Carole King showed how well it works in pop and folk-influenced music. Those real examples prove that AABA is more flexible than people think.

How do I practice writing my own AABA song using these examples?

Pick one of the songs above and map out its A and B sections. Then, write your own lyrics and melody using the same pattern: A (8 or 16 bars), A (variation), B (contrast), A (return). Use the examples of famous AABA songs analysis here as a checklist: strong repeated A, clearly different B, and a satisfying return.

If you keep coming back to these songs and listening with structure in mind, AABA will stop feeling mysterious and start feeling like another tool in your songwriting toolbox—one that’s been powering hits for nearly a century.