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Rima consonante
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Do curso por Berklee College of Music
Composición de canciones
105 classificações
Na lição
GPS Sónico - Mapeando tu canción con rima
Al final de esta lección, entenderás la relación entre los esquemas de rima y la prosodia. Crearás secciones estables e inestables, utilizando diversos esquemas de rima para mostrarle a tu oído el camino a casa. Al utilizar estas herramientas, escribirás un nuevo verso y coro.
Conheça os instrutores
Pat PattisonProfessor
Finally, let's get way over to the side here, to the most unresolved, the least
resolved, the least resolved rhyme that still gives you a sonic bonding.
And, you know, I'm not really concerned whether you even want to call, say,
assonance rhyme a rhyme. I don't, and, and, when we now start
talking about consonance rhyme, I don't care if you really want to say rhyme with
that. Because all I'm concerned about is the
relationship of sound, the relationship of vowels and consonants to each other, and
the way that they can help a singer move through a line, or help the song itself
express something, help the rhyme type itself express something.
That supports the idea. Consonance rhyme.
In a consonannce rhyme the vowel sounds are different.
The way the syllables end. Is the same.
This is the weakest possible sonic connection you can have in a song because
remember, a song is a place where the vowels are exaggerated.
A song is a vowel exaggerated medium so that when you change the vowels You're
really changing a lot. And so when you get to a consonant rhyme
where the vowel sounds are different and the final consonant sounds only, are the
same, you're getting to the least resolved rhyme type.
A consonant's rhyme can be interesting but it really opens the gate.
Really feels[INAUDIBLE], and that can be incredibly expressive.
Take a look at Warren Zevon's course. In his song, hasten down the wind.
And check out the rhyme that he's using. Ba da-da da-da-da, ba da-da da-da-da
friend. Ba da-da, da-da, da-da da[NOISE] hasten
down the wind. Ba da-da, da-da ba da-da, da-da friend.
Ba da-da, da-da Ba da-da da hasten down the wind.
And the feeling between friend and wind feels like[SOUND] just go.
I'll be fine. I just want you to be happy.
As opposed to bada dada, dada. Friend,[sound] hasten round the bend.
And now that tight closure between the perfect rhyme friend and bend closes it
off and says, just get out. Of my life, thank you very much.
And that's only the rhyme type, that does that.
So the consonants rhyme in opening the gate, becomes very expressive.
And you'll see it at the end of Don Henley's chorus.
The end of the innocence. The rhyme between defense and innocence.
Ense, ince. You'll see it at the end of, the, the
first verse of Gary Burr's, "Can't be really gone".
Where he rhymes one and gone and it just feels so open.
So, you know, check those out, and see that consonants rhyme is actually an
option. One and alone, scars and fears, filled,
crawled. So there's all sorts of possibilities.
For, consonance rhyme, but only when you really want things to be unstable.
So let's try these rhyme types. [music] Just follow the bouncing ball.
[music] Here we go with perfect rhyme. (Musi A lovely day to have some fun.
Hit the beach, get some sun. Sounds like we're going to have a really
good day. [music] A lovely day to have some fun.
[music] Hit the beach, and get some sun. Ha, ha!
Family rhyme. A lovely day, to have some fun, hit the
beach, bring the rum. So they're fun, rum.
So that's a family rhyme using the nasals. [music] Additive rhyme.
[music] A lovely day to have some fun. Hit the beach, get some lunch.
Fun, and lunch. Lovely day.
[music] To have some fun. Hit the beach, get some lunch.
Subtractive rhyme. Hit the beach, get some lunch.
A lovely day to have some fun. [music] Let's talk about that for just a
minute. The unvoiced fricative lunch carries a lot
of sound. It probably carries more sound than the
voice fricative. So a lovely day to make some ponds.
Puns. Lovely day for making puns, hit the beach,
have some fun. And "puns" and "fun,"[NOISE] , is less
sound than the "lunch." The "-ch," really stands out, almost like you're hitting a
high-hat. But again, the subtractive rhyme here is
inherently unstable. [music] Hit the beach, get some lunch,
lovely day to have some fun. [music] Let's try an assonance rhyme.
A lovely day to have some fun. [music] Hit the beach, fall in love.
[music]. I'm not sure what my chances are here.
[music]. Lovely day to have some fun.
Hit the beach, fall in love. [music].
I'm not sure that I'm confident about this.
[music]. Perhaps I'm not sure that I can fall in
love with you. [music] Or probably more likely, I'm kind
of asking the question, you know what? Guj, maybe today's the day you'll fall in
love with me. What do you say?
Maybe? Could you?
And so that rhyme type itself, the assinents rhyme type carries the seed of
that doubt with it. Because it's so close to unresolve rhyme.
It's again like hitting one of those chords that doesn't feel quite settled,
doesn't feel quite stable and the rhyme type itself here is responsible.
Fun, the nasal, and love. The voiced fricative.
Finally the consonants, rhyme. [music] A lovely day to have some fun.
Hit the beach, bring it on. A lovely day to have some fun.
[music] Hit the beach, bring it on. Not so sure I want it brought on that way.
Bring it on, I'm kind of nervous about this.
Hit the beach, bring it on I don't have the right sunblock I didn't get a good
tan. My legs are white and skinny, bring it on,
come on bring it on, as opposed to bring it on.
Gone,[noise] bring it on, that's a different emotion created, once again, by
the rhyme type itself. So that...
Rhyme type that is moving from perfect rhyme, through family rhyme, through
additive subtractive rhyme, through assonance rhyme, and finally to consonance
rhyme, is a trip to less and less stable connections, which create Different kinds
of feelings. And that's such an interesting thing to
me, that the rhyme type itself creates emotion.
The rhym type itself createsemotion. And if you can.
Commandeer your rhyme types, organize your rhyme types, select, choose your rhyme
types to support the emotion that is available in the ideas that you have.
Then you're going to be working on a whole other level, a second level of emotional
composition. And when you start putting that together
With number of lines, length of lines, rhyme scheme and rhyme types.
When you start putting all of those together you have a tool built that's
going to become incredibly expressive for all of the songs that you write.
So that you have many more options available, and that's something that
perfect rhyme alone will not give you. Perfect rhyme always creates full
resolution, no matter what you're talking about.
So, open it up a little bit. See what it is, what do you feel?
Stable or unstable? And, you know, frankly when I'm writing
sometimes I don't know how I feel. So that when I try some of these various
manipulations. He will say, how about this feeling, would
this feeling be, what do you think of that?
I'd say wow, yeah no, I don't, I don't know.
I don't think so. Well, how about this one?
Let's shorten this line and put in this assonance rhyme which really says what you
want to say. How does that make you feel?
Ooh, it makes me feel like I'm kind of hanging there.
And what's the emotion you're trying to convey?
Isolation and loneliness? Oh, works just fine.
Or, no, I'm telling you that I'm so grateful to be in your life and I really
mean it. Okay, so shortening the line, no.
One of those rhyme types down here? No.
Family rhyme? Perhaps.
Perfect rhyme? Perhaps.
Let's see what we can say. And then we go to our rhyming dictionary
and work through it. So rhyme types are your friend.
Use them. Fearlessly.
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