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.

there is no family rhyme for R as we've seen before.

but when you have R,[SOUND] which is one of the most difficult consonants to say,

one of the last sounds that a child learns to say.

Because it's such a mouthful. It's such a gymnastics exercise for the

tongue. and I'm not even talking about when you

start rolling your R's. so here we have the R sound which, once

again, as I said before, transforms the vowel sound.

Because the rising of the middle of the tongue toward the soft pallet really does

give a whole different residence to the vowel sound.

So what, what, what roar does, because the R sound is almost like a vowel

itself. I don't want to go so far as to call it a

semi-vowel, but in terms of creating a great deal of sound, it certainly does.

Which is really what vowels, the tone generators for singers do.

And so the R sound is always really prominent and consequently consonance

rhymes come into play. I suppose that we could go with really

perfect rhyme like roar and door. Now, door is not really one of my

favorite words because you hear it probably in every second song of walking

through the door. Walking out the door ask myself for more

you know? And, but at any rate I suppose that the

wind can be knocking at my door and, okay, okay that's, I think at least on

the interesting side of the cliche. And so, door will be there but it just

barely made it in, just barely. Soar, soar, yeah, I know.

I suppose if you could put the word soar into a context and probably not even use

soar, but maybe something like soaring. Then, maybe it has an opportunity,

certainly the wind is going to reach the distant shore or the additive rhyme,

shores may work there. And then, we move into the consonance

rhymes. And I just want you to take a look at

those and note the variety of vowel sounds.

That the consonants rhymes can generate and how wide the search can be when

you're looking for consonants rhymes. Note that whenever you have a word that

ends in R or l, consonance rhymes are completely in play when you are dealing

with something that feels a little unstable.

So that once you are in your rhyming dictionary looking up door, which you

will find under or in the Clement Wood complete rhyming dictionary ah,, you can

move all the way from A to E to I, then back to O, to U.

And get all of those long and short vowels with the O sound and the R

following. So, we have a plethora of possibilities,

once you have either an R, or an L. Very special sounds and very productive

sounds. Really, because it gives you not only,

not only when you have the vowel sounds in common, two big hits, the vowel sound

plus the R. But when you don't have the vowel sound

in common, the R still contains enough sound that it's going to make that

connection. However unstable it may be, you will hear

those Rs, moving in lines adjacent to each other, particularly.

Finally, we have Wander. And once again, let's dump the R and just

do and, ander. So then we have dawn, gone, and so on.

And so, just take a look at that list. So, here we have our worksheet.

And now, from this worksheet, we can actually start trying to find What it is

that we're going to say. And we don't need to get lost remember

because we have our boxes so that the boxes we can develop as we go.

First box is, you know, here I am listening to the wind.

second box, wow, where have you been, where are you going.

And the third box, take me with you. So, we can step into any one of those

boxes and see how the idea develops. obviously, the first box is probably the

best place to go. Once we know that, this take me with you

is going to be the whole point of the song, the why of this song.

Who's talking? I, who feel stuck am talking.

Who am I talking to? There we have the whole point of view

question. What are my possibilities?

Well, I could of course be talking to the wind.

O, hobo wind. I kind of like that.

I could be talking about the wind. Yeah, I, I bu, I was listening to the

wind and, and I was enthralled by it. I wondered where it had been and where it

was going to go. And I wanted, or I want to go with it.

There's a real question for me of why I would be telling the world in general

about my obsession with the wind. So, it doesn't seem like there's a why

there because I guess I'm revealing something about my longings that aren't

as interesting to the world in general as they might be to the wind.

And I think the same thing is true here of second person narrative and of third

per, there he was and he wanted to go with the wind.

So, it feels to me like direct address is going to be the most intimate.

And direct address in presence tense. Note again, that direct address is the

most intimate point of view, and present tense is the most int, intimate tense.

So, I'm going to try to put this in present tense, hey wind, I hear you.

And future tense, I wonder where, past maybe where have you been?

Future tense, where are you going? and then the request, oh, take me with

you. and so, that seems to be sort of the

landscape going through the boxes of where I want to be.

So now, we can get right to writing the line.

Planilhas, Parte 2

Composição: Escrevendo a letra

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