In the course of this brief reflection on the teaching of analysis we shall delve into three difficult areas: The first concerns the relationship between analytical decision and inner hearing. This question, crucial to the analysis of a score without audition, arises also whenever only a limited number of hearings is allowed. The second examines the theoretical framework: what are the connections between analytical practice and theories of musical language? At what moment and in what way can these connections be set up? The third calls forth the institutional context and its influence on the direction taken by the analysis. Whenever one of these three questions is skirted, the conditions for a didactic approach to analysis are not brought together, and search for consensus becomes difficult.