Opciones de rima

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Del curso dictado por Berklee College of Music

Composición de canciones

104 calificaciones

Berklee College of Music

Composición de canciones

104 calificaciones

Curso 3 de 4 en SpecializationEl Músico Moderno

Aprende un proceso eficiente y efectivo para escribir canciones que expresen tus ideas y emociones, incluyendo una gama de herramientas que giren alrededor del concepto de prosodia; la adecuación de letra y música para apoyar tu mensaje subyacente. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

De la lección

Escribir la canción ("Hobo Wind")

En esta lección, seleccionarás un nuevo título de canción y crearás una hoja de trabajo para ayudar al desarrollo de tus ideas. Escribirás tu letra y le pondrás música, haciendo coincidir los ritmos de letra y ritmos melódicos. Crearás una melodía, usando tonos estables e inestables para apoyar tus ideas.

Encuentra y ajusta el título11:56

Cajas y hojas de trabajo12:43

Desarrollando la hoja de trabajo, parte 117:42

Desarrollando la hoja de trabajo, parte 217:41

Escribiendo las líneas, parte 115:23

Escribiendo las líneas, parte 216:05

Escribiendo las líneas, parte 37:57

Ritmo melódico16:34

Tonos estables e inestables, parte 17:59

Tonos estables e inestables, parte 26:35

Opciones de rima6:01

Haciendo ajustes9:16

Conoce a los instructores

Pat Pattison
Professor

Remembering that prosody is our goal. you go back and you check stuff so that

the line that that we just worked on, with the unstable tone, with the D, I

hear you moan, I hear you laugh. commented that the, that the D on laugh,

colored the word laughter into something that was not quite happy laugh.

but it also occurred to me because I am addicted to prosody that that maybe the

word moan might go in that end line position.

and so I thought I would give it a try and see what happened.

[MUSIC] and then think about the consequences.

[MUSIC] Make your way between the cracks. [MUSIC] I hear you laugh, I hear you

moan. [MUSIC] Singing as you pass.

That feels pretty moany to me. and what it does is it colors singing as

you pass with a moan also. but you know, I was attracted to it

simply because, maybe, maybe, moan in that position deserves the D more than

laugh does. What do you think?

What do you think? and that's that's of course always a

question which really is a question of, how does it feel?

How does it feel? To me, it felt like too much.

But once you say, well maybe, then you've got to think about other thing.

Okay. Well, what's happening is that I had this

rhyme scheme of cracks, laugh, pass in in sort of shortening lines.

which felt to me nice and accelerated and pushing forward.

And if I go you make your way between the cracks.

I hear you laugh, I hear you moan. Singing as you pass.

Oh Ho, so now, the O and the Ho, the Hobo Wind, because of the moan out there at

the end of the line, feels like it gets a little boost.

But I think it gets the same boost on the inside.

What, of course, that would mean if I put moan out there on the end of that line,

on the D, is that I would have to then try to revise the rhyme scheme of verse 2

and verse 3. Now, this is the beauty of using a

worksheet, that I have that long O column that moan came from.

And the reason that I have the long O column is because of the word Hobo.

And it seems to me like wherever I put that long O, the the whole of Hobo is

going to be boosted. So that I tried it and took a little

quick run at what would happen if I tried to put that long O sound at the end of

the fourth line of verse 2, and again at the fourth line of verse 3.

And tried it out and thought well, you know, that's fine.

But I really like burying the moan inside the line for two reasons.

One, because I like laugh, still with that note, the D, as an adjective for it.

and secondly, I don't want moan to be such a huge sound at the end of that line

on the D, that it overtakes the wind in Hobo Wind.

it seems like it really pushes the Hobo up a little too high.

So, I decided to keep the moan where we had it.

[MUSIC] And listen to what it does to Hobo where it is.

[MUSIC] Make your way between the cracks. [MUSIC] I hear you moan, I hear you

laugh. [MUSIC] Singing as you pass.

[MUSIC] O Hobo Wind. [MUSIC] Hobo wind.

That seemed to me to be fine. but given that, I thought, wow, that's

really great putting that long O in that position.

Bearing it does do nice things for the Hobonis, Hobonicity, the Hobonis of of

the, of the, of the wind. So then I then went on a little scavenger

hunt in my long O's to see if I could duplicate that in verse 2 and verse 3,

and found some things that I thought worked fairly well.

So that once you really get this melody thing going, then you're going to start

making adjustments. How does it work here?

How does it work here? Maybe this, maybe that.

So that the more stuff you have to put together, the more interesting the

webbing becomes, particularly this thing which we could call the Sonic Fabric

becomes. And then, we can start weaving our sounds

in and out of each other. And changing some of our ideas in order

to create the sonic fabric, but remember, that the ideas are the most important

thing.

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