one other thing by the way about, about wind is that, you know, there's an
obvious an obvious rhyme a couple of them.
in, which I didn't even bother to write down and maybe then been I suppose you
can put it out to been. but you know, been.
and, and those really obvious ones really don't need to be part of the worksheet.
The worksheet is, is spring board into ideas, and just simple rhymes like me,
and in and been so on. as you actually go into the construction
of the lyric, they may present themselves as you write your lines.
But it's not necessary to include those in your worksheet, which is really a
worksheet of concepts and a way of knitting together this song fabric.
So, let's look at Hobo. Note that the the stress of hobo, hobo,
hobo strong weak. That the accented syllable is the first
syllable. Now, when you are looking for rhymes,
rhyme is almost always of function of your stressed syllables.
So, here it's the ho of hobo, that you're really going to want to match.
and I don't think that it's important here, since hobo is not in rhyming
position. And if it was in rhyming position I
probably wouldn't rhyme it. because what have you got for hobo?
So, we've got go slow, but go slow moves the opposite of hobo.
And so, it's going to be a difficult thing to do.
And so, what I'm going to try to do really is just find echos of that long O
sound. places where I can work with the O of
hobo, maybe inside the lines. But again, mostly what I'm looking for
here are ideas to deal with. So, the first thing I'm going to do with
hobo is drop the bo and simply do long O rhymes.
Now, note that we, here we have a long O rhyme.
And because it is ending in this long vowel, even though we did hobo, it's
ending in this long vowel, O. there are no family rhymes for it.
Because family rhyme, as you remember depends on there being consonants after
the vowel sound. So, since there are no consonants here,
we're dealing with either with perfect rhyme or we're dealing with additive
rhyme. So, perfect rhyme, obvious one, blow.
[LAUGH] The wind blows. it has a flow.
It can go either fast or slow. watch it as it I don't know if throw will
work. I don't know if throw will work, but I do
see the wind throwing things around. I do see the wind as throwing things
behind it. I see the wind as maybe it's not a hobo
wind though, but still throw, throw may figure into the mix.
And so, yeah, let's put it down. At which point, I'm pretty much done with
my perfect rhymes for hobo, or for ho of hobo.
and so let's start looking for additive rhymes.
the least sound that you can add is your voiced plosive.
So, we get something like rogue, I was thinking maybe of robe or road.
road for me may work. May work.
we certainly have paths. And so, let's put down road.
adding the not very sonically present[SOUND] sound.
If we're talking about singing hymns, maybe we're dressed in a robe.
but a robe doesn't give me that much. I'm not going to write that down.
But certainly, road, and then rogue. Rogue, I like because certainly that's
what I want to do. I want to go rogue.
I want to be some, I want to unstick myself and go go with the wind.
So, so rogue gives the, I, I don't know, gives a nice a nice a nice sort of
overtone to this hobo. and might be be something very nice to
plant maybe in the line before the title, the line comes or a couple of lines along
or before it. So, it's close enough that it might give
the hobo just a little bit of boost. We can go to the unvoiced plosives, and
certainly we have a word like hope, hope. where we use the P, we have I'm going to
put on my coat adding again T throat. and so working, working through the the,
the, the plosives, which is the least possible sounds you can add gives some,
some really nice real nice opportunities. Hope, I think, you know, that's what I'm
looking for, that's what I'm looking for. So, that's one of those words that says,
yeah, you could use me. So I said, alright, I'll write you down.
and whether I use it or not, I mean, I'm not committing.
I'm just saying, yeah, come on. and then let's get to some less stable
possibilities. I mean, there's things like in the
fricatives there's things like rove, although it doesn't really seem like a
word that, as you rove, I don't know. I don't know if I've ever used the word
rove in my life. maybe somebody else does all the time.
I don't. For me, it doesn't feel natural.
and so I get to the nasals and I find, moan.
Moan. Hobo, moan, moan.
I like that. I like moan.
moan, you know, get's a little check mark from me because certainly it resonates.
Because as I'm listening to the wind outside hear it moan.
That may, that may be a nice piece of sense bound material to maybe even start
the song off with. if we want to now go into a couple of two
syllable things, we might get broken. We might get broken, or we might get
smoke. Smoke.
so working here again, we're just looking for ideas.
What would smoke do? What would smoke, disappear like smoke.
you know, some possibilities there. It's what I would like to do.
From this place, I would like to disappear like smoke.
and then of course, rise with the wind, and so on.
And there's a, there's a lot of texture there with that idea.
And so again, whether or not these words actually come into the song itself, they
certainly give me a platform, an emotional platform from which to write.
So there, here's our column then for for hobo.
And note that none of them are don't go, or any, any, of what might feel like
incredibly contrived rhymes. Again, we're not looking for rhymes here.
We're looking for ideas, and we will find ideas that have these vowel sounds.
We're looking on two levels simultaneously, which is a good thing.
Our third key word, path, I'll leave to you what I'll try to do here is simply
give you a choice. I'll show you my list that I discovered
with path. And for each of those, I want you to
identify the rhyme type just again as an exercise back to the exercises that you
did in rhyme types. But as you identify the rhyme types,
which of course is a technical thing, also try to imagine how these ideas help
to form this fabric, this ambiance, this platform, to see this all the way
through. What new ideas do we get here that might
be useful in the development of these boxes?
The same here for rush. Containing[SOUND] as a fricative, the
unvoiced fricative. And again, here, I want you simply to
identify the rhyme types. But again, to think a little bit, feel a
little bit, how these ideas can enhance, expand the whole notion that were dealing
with. Roar.
Here, we'll take a little bit of time simply because the R ending the word
presents a little bit different kind of opportunity.
