Rima aditiva y sustractiva

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Из курса от партнера Berklee College of Music

Composición de canciones

101 оценки

Berklee College of Music

Composición de canciones

101 оценки

Курс 3 из 4 — Specialization El 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.

Из урока

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.

Esquema de Rima, parte 19:44

Esquema de Rima, parte 214:51

Rima perfecta16:55

Rima de familia22:30

Encontrar rimas familiares2:22

Rima aditiva y sustractiva10:12

Rima asonante5:35

Rima consonante12:46

Познакомьтесь с преподавателями

Pat Pattison
Professor

So far, we've talked about perfect rhyme, or fully resolved rhyme.

And we've talked about family rhyme, which is a perfect rhyme substitute.

Note by the way in family rhyme, there are a couple of things missing which you may

have noted. What about l?

What about r? What about w?

What about y? What about x?

There any families they are? Answer, not really.

Not really. The R sound[SOUND], l sound[SOUND].

Both called laterals. But really, you don't substitute one for

the other. X is easy,[SOUND].

So, it's a hybrid. Just as, by the way, in family rhymes the

ch,[SOUND] is a tsh[SOUND]. And the j,[SOUND], is a dzh.

So, there are some hybrids involved. And of course the j and the ch in the

family rhyme table, are not pure family rhymes, they are, hybrids between two

sounds. But, nonetheless, still work quite well.

L and r, when they occur they create a lot of sound.

And that gives other opportunities, but not opportunities for family rhyme.

Y and w, although you see those letters at the ends of words, really don't engage

themselves, except at the beginnings of words.

So play, which ends in y, isn't play[SOUND].

But[sound] yes. Yes does engage the y sound, that is to

say, puts the middle of your tongue very close to your soft palette,[SOUND],

leaving only a little room. The w,[SOUND] winner,[SOUND] winner,

winner, winner. The lip vowel gives you again an

attenuated sound at the very end of the vowel triangle shown here.

Note that the, the y is the extreme end of the tongue vowels, going from the

sound,[SOUND] and is therefore a semivowel.

And note, going up the lip vowel side,[SOUND], the w sound is the extreme

of the lip vowel leg of the vowel triangle.

So, those consonant sounds don't figure into family rhyme.

But they certainly, at least the l, the r will figure into what we're doing now,

which is called additive and subtractive rhymes.

Note also another huge category of words does not fit into the family rhyme mode.

Those are, of course, words that don't end in consonants.

The word free, the word go, the word play do not end in consonant sounds, they end

in vowel sounds. And so, since they end in vowel sounds,

and since family rhyme says, condition two, that the consonants after the vowel

belong to the same phonetic family, since there are no consonants after the vowel in

free, in play, in grow, family rhyme doesn't figure in there either.

So when we're dealing with those open vowels, that is vowels that end the, the

word, or when we're dealing with l and r, we have to work another way to start

creating opportunities for something less stable than perfect rhyme.

So, let's talk about additive rhyme. Additive rhyme, you have two words or two

syllables. One of which, the second of which, adds

something that the first doesn't contain. What if we wanted it to be much more

stable? What if our idea was much more stable.

Then we would try to add. As little sound as possible to the second

member of the pair. So again, using the long i, cry, what

would be the least possible sound that you could add?

Think about that for a minute. Take a look at the consonants.What would

be the least possible sound you can add? So, cry, bribe, cry, bribe, using the

voice close to b or cry, ride, using the voice close to d.

G is not going to work, just because of the nature of g, raising your tongue up

and changing the vowel sound. So, really you don't get that.

So that so that here, additively, adding the least possible sound gives us the most

stable possibility. Whereas adding a punch of sound creates a

less stable connection like cry, smile, cry, bride and, and so, that middle

position that you see in the scale of rhyme types, is pretty movable that it can

move more toward fully resolved or more toward less resolved depending on how much

sound you add. Remember when we were talking about line

lengths, when we were talking about the relationship between longer and shorter

lines and that when you start with a shorter line, and then go to a longer

line, that you are matching your shorter line along the way and then extending

beyond it and that creates stability. That creates a little more stability than

when you are moving the other way and doing, say for example, Mary had a little

lamb, fleece was white as snow. So that longer versus shorter moves you

forward and shorter versus longer keeps you a little more stable.

The same is true with additive rhymes, that because, because say bride adds a

sound, it is already matched cry, along the way before it, before it adds the d.

And so just as a shorter versus longer line, feels a little more stable.

So does cry, bride, feel a little more stable.

So, additive rhymes, for example free, speed not so bad.

Glow,[unknown], glow, stove, fit, grits. Not so bad.

Fine, resigned and certainly cry, smile. So, that additive rhymes of the two

additive, subtractive, which we're about to do, additive rhymes are somewhat more

stable because the second position adds something that the first position doesn't

have. So, flip that over, and let's talk about

subtractive rhymes. Now, we're in the same position that we

are in with line links when we have the longer, followed by the shorter.

So, here we'd have speed, free, and now we have some instability.

So, that even with that little bit of sound that the d adds, speed, free, you

feel like something's missing. Gives you that sense of instability or

stove, glow, missing that v sound. So, again you have that feeling of

instability, resigned, fine. And finally, the least stable, smile, cry.

And so those are additive and subtractive rhymes.

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