Assonance Rhyme

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Del curso dictado por Berklee College of Music

Songwriting: Writing the Lyrics

321 calificación

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Berklee College of Music

Songwriting: Writing the Lyrics

321 calificación

There’s a songwriter lurking somewhere inside you, peeking around corners, wondering if it’s safe to come out. Now it is. This course is an invitation to let your inner songwriter step into the sunlight. All it takes is a simple “yes” and you’ll be climbing that windy hill, marveling at the view. If you haven’t written any or many songs, this course will show you an efficient, effective process for tailoring songs to express your ideas and emotions. If you have, you’ll look at your process differently, taking control of aspects of the process you may have not noticed. The course will start by examining the tools available to you, all revolving around the essential concept of prosody. You’ll learn to use your tools to enhance your message—to work compositionally at the same time you’re developing your ideas. You’ll be working both lyrically and musically, though musically it’s not necessary that you either read music or play an instrument. If you play, great, and you’ll be encouraged to play and record your musical responses to the assignments. If you don’t play, the course offers you a number of musical loops to work with. All you’ll have to do is sing your melodies over the loops. Assignments will ask you to post something for peer review—sometimes lyric lines or sections, sometimes melodies, sometimes both. None of it has to be polished. The course is about writing, not performing. Most important, you’ll have a lot of fun.

De la lección

Sonic GPS—Mapping Your Song with Rhyme

By the end of this lesson, you will understand the relationship of rhyme schemes to prosody. You’ll create both stable and unstable sections, using various rhyme schemes to show your ear the way to go home. Using these tools, you’ll write a new verse and chorus.

Rhyme Scheme, Part 19:44

Rhyme Scheme, Part 214:51

Perfect Rhyme6:14

Family Rhyme18:10

Finding Family Rhymes2:22

Additive and Subtractive Rhyme10:12

Assonance Rhyme5:35

Consonance Rhyme12:46

Conoce a los instructores

Pat Pattison
Professor

Let's move on to assonance rhyme. And now, we're really getting down to that

end of the spectrum, towards the end of the spectrum.

Because an assonance rhyme is always unstable.

It's always unstable. Whereas in additive and subtractive rhyme,

we're kind of dealing with the E in the bass and the C major triad.

[music] Ba da, da, da dum. [music] Ba da, da, da dum.

[music] Depending on how much you add or subtract.

Now, when we move on to assonance rhyme, now it's always going to be unstable, as

though we were now taking the C out of the right hand, putting the E in the bass and

then singing the, singing the C. Ba da, da, da, dum.

[music] Ba da, da, da, dum. [music] So there we have something like an

assonance rhyme. It's always going to feel unstable.

Always going to feel unstable. Assonance rhyme works like this.

The only thing that the words or the syllables have in common is their vowel

sound. And in assonance rhyme, as opposed to

additive and subtractive and perfect. In assonance rhyme, all of the syllables

that you're rhyming do have ending consonants.

But the ending consonants belong to different phonetic families.

Belonged to different phonetic families. So that, for example, we have something

like life and tide. Where life, of course, ends with the

un-voiced fricative and tide with the voice plosive. Life and tide is always

going to feel unstable. Consequently, it won't give you a full

rhyming effect. If what you are trying to do with the

rhyme is accelerate, it will diminish the feeling of acceleration.

It will diminish the feeling of resolution.

And if you are talking about something that is diminished, that is unstable, that

maybe exactly what you want. Note that using rhyme types, of course,

gives you much more in the way of opportunities to say what you mean and

still rhyme. But it does something else that's I think

even more important. What it does is it gives you the

possibility of using rhyme. Expressively, of using your rhyme types to

at the end of a sequence make it feel open the gate.

Open the gate. And let some of the emotion hang out.

So that it doesn't feel shut tight. So assonance rhyme you can do blood rush.

Blood rush. That's going to open the gate.

You will have a connection. It feels like there's some connection, but

the connection isn't strong enough to say, I'm done and I feel very stable about it.

Fool rude. Fool.

Rude. Note the vowel sound is the same.

Fool. Rude.

But again, it's a kind of squishy connection which if you're talking about a

fool, because a fool is rude, maybe exactly what you want to do.

Fire. Smile.

That's hardly and contact at all. Depending on how long you hold the vowel.

But still, fire and smile isn't going to give me much, other than that sonic

bonding between vowels. As a side note right here, I would just

like to say fire and smile would work very nicely inside a line to create a kind of

voice leaning of vowels, as you go through the line.

But as an in-line rhyme, it's going to feel pretty unstable.

So assonance rhyme is always going to feel unstable.

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