Word that rhyme with story

Double and triple rhymes (two or even three words rhyme in each line)

In place of scum, all on sheets on shelves
You know this, so put in columns
There is a black box, like Pakistan in box

OBLADAET feat. I1 KOSMONAVT

Full-line rhymes (almost all the words in each line rhyme)

Years like an Odyssey in suburbs
City of London vs. all part two, man

Oxxxymiron “London against everyone. Part 2"

Only nouns rhyme in the track "Illusion of Freedom" by Dendy:

Beats

The basis of music in rap is the beat - the rhythm of the song.

The question “what comes first: bits or text” is like the chicken and egg problem. Someone starts from the fact that rap is primarily music, and writes lines over the finished beat. In this case, the beat can guide the creative thought of the artist and influence the text that has yet to be composed. But if you pay attention to the text first, the track will turn out to be no less solid. Some performers are sure that the finished beat only distracts and prevents them from concentrating on the lyrics.

For example, rapper Guerilla Black believes that "the purest flow comes when you don't write to the beat - you just hear everything that's going on in your head and take the first solid thought from there."

Some artists write beats themselves, others buy ready-made ones or even rent them (in this case, there are restrictions on replication of the beat).

Sometimes a successful beat makes a track with the most ordinary lyrics a hit, and its artist a star.

The 19-year-old rapper Big Baby Tape has been writing beats for other artists for a long time, but later became an artist himself: his track Gimme the Loot in November 2018 took first place in terms of the number of hits on the international Genius platform, overtaking the hits of Lady Gaga and Ariana Grande. Not the last role in its success was played by the original beat with a sample from the track Gimme the Loot by the American rapper The Notorious B. I.G.

Recording and additional techniques

Hardly anyone will come to an artist's concert without first listening to his tracks. Of course, poor recording quality can ruin a song that is brilliant in all respects. But in order to record something cool, it is not necessary to spend money on an expensive studio - many famous artists at the beginning of their journey made do with home equipment and their own sound engineer skills.

It is equally important to rehearse the reading before recording, to think in advance at what moments it will be appropriate to take a breath.

Some rappers record only two or three lines and then glue them together to avoid mistakes or add additional vocal effects.

Usually performers try to mask cuts, but if the quality of the mix was not perfect, attentive listeners may notice them. Other rappers record everything in one go, and, as a rule, the live performances of such artists sound much more harmonious.

You can diversify the recording with the help of an additional body kit: backs and ad-libs.

Backing is a track with vocals recorded over another track; thanks to the backing, the vocals become more “fat”, and the lyrics sound more powerful. Adlibs are improvised phrases or words that are placed in the background to make the track sound more interesting.

Some artists record skits - small sketches, the purpose of which is to create the feeling of being inside the track in the listener or to additionally reveal the script of the album. It is noteworthy that skits are used less and less in modern rap: the popularity of digital audio formats allowed them to be skipped and made their inclusion in the album almost useless.

Scryptonite track “Intro. Time to go back" begins with a skit that lasts almost a minute and a half:

We hope we managed to show that rap is more complicated than it seems at first glance.

Read

Listen

Rhyme // Varlam Shalamov

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The best rhyme in Pushkin's times was the combination of two nouns. Pushkin was the Russian Adam, as Lunacharsky put it. Poetry at the beginning of Pushkin's activity resembled the situation in modern science, when discoveries are literally waiting for you at every corner, guarded at every step. Something similar happened with the Russian word when Pushkin took up his pen.

What is "discovery"? It means to draw general attention to something that existed before, to something that no one noticed before.

Let's return to Pushkin's rhyme. Rhyming an adjective with an adjective, a noun with a noun, a verb with a verb, Pushkin followed untraveled roads.

Marshak believes that it is better to rhyme a verb and a noun, that such rhyming, as it were, links together different parts of Russian speech.

It seems to me that thought does not decide anything in the essence of rhyme. Its sound content says that the best rhyme is an adverb and a noun.

Shklovsky is afraid that there won't be enough rhymes. Rhyme is enough. “Blood is love” can be rhymed for many more years. The sound support will remain.

Rhymes are masculine and feminine, dactylic and hyperdactylic, exact and inexact.

In textbooks, rhyme is called a sound repetition at the end of a line, coinciding with the final pause. All this is so.

But why does a verse need to rhyme?

We are answered: for euphony, to emphasize the rhythmic-musical beginning of poetry, and also so that verses are easier to remember, better to remember.

Is it just for this?

Since childhood, it seemed to me that words have a shape, coloring. The form depends on vowels, on vowels. In fact, the size of a word depends on the number of syllables determined by vowels - this is true for a first grade student. But form and size are not the same thing. The word "poplar" is clearly different in form from the word "now", although both are of the same size and almost the same color. The color of the word depends on the consonant sounds and is determined by them. Sound repetition can be built on vowels - this is a strengthening in the memory of the form of a word or something else is always present in the poems of a great poet. This is an element of creativity. The pinnacle of Russian poetry, Pushkin's "The Bronze Horseman" is an unsurpassed example of this kind. Pushkin knew everything in poetry.

Love you Petra creation,
I love your strict, slim look,
Neva sovereign current,
Its coastal granite.

The notorious "root rhymes" (strict - harmonious) are placed, as it should be a sound repetition of this kind, inside the line. Sound coloring (variations of consonant letters) is perfect.

Pushkin's rhyme (verbs with verbs, nouns with nouns) outlines the linguistic boundaries of Russian poetry, outlines its boundaries. The poets of Pushkin's and post-Pushkin's times follow this rhyme. Time shows the need for some amendments to Pushkin's canons of rhyme, namely, a greater sound correspondence of rhyming words - in their literary, i.e. Moscow pronunciation. This work is being done by Alexei Konstantinovich Tolstoy. He, like Chekhov, does not have critical articles, but there are numerous letters where a new theory of rhyme is substantiated.

Classical Russian rhyme, full rhyme, is used by all our great poets - Pushkin, Lermontov, Tyutchev, Baratynsky, Nekrasov, Blok, Tsvetaeva, Mandelstam, Tvardovsky. Pasternak, Mayakovsky and Yesenin will be discussed in due course.

The possibilities of Russian rhyme are inexhaustible, and it is a thankless task to take on the destruction of “local words”. Modern Russian rhyme is a bond, a combination of various parts of speech, it is a constructive element of the language in the struggle against idle talk, with verbal sloppiness for laconicism, for the accuracy of poetic speech. "Noun - verb", "participle - verb", "adjective - noun", "adverb - verb", "adverb - noun" - all these are the combination of language elements in Russian versification.

Insufficiently literate young poets, discoverers of the long-discovered Americas, inspired by poorly literate critics, spend time, both their own and the reader's, glorifying lifeless literary forms, for the sake of innovation at all costs. What is offered (a root rhyme or typographical dots instead of words by Sapgir) is false innovation, the reason for this is either ignorance, or literary adventurism. "Root rhyme" - an ordinary sound coloring of a word (kind - long), appropriate in the middle of a word. As a "word of mouth" it is negligence, slovenliness, sound lameness ...

As for Sapgir's "poems", Alexei Nikolayevich Chicherin, the leader of the "nichevoks" of the 1920s, now alive, could tell something about "poetry" of this kind.

It is quite characteristic that young poets and poetesses concentrated their efforts on the destruction of rhyme, posing as innovators and seekers of the simplest element of a line and stanza. Their quest does not concern more complex issues - intonation, metaphor, image.

But rhyme is only a tool with which a poem is created, a search tool for a poet...

And assonances, like sabers,
Chopped rhyme hastily[1].

This is a Northerner.

Historically, assonance precedes rhyme. Poetic lines, more interconnected by assonances, go back to the deep antiquity of both literary and folk speech. Rhyme appears for the first time among medieval troubadours. Since the time of Otfried Weissenburg [2], rhyme has been gradually strengthening, opening up more and more new roads of verse. We do not need to pay attention to Western fashions, to the destruction of poetry. Classical Russian poetic meters - iambic, trochee - have not exhausted even a thousandth of their capabilities. Are Pasternak's iambs similar to Pushkin's iambs? Aren't Mandelstam's iambs discoveries? Is Akhmatova repeating anyone? (except Mikhail Kuzmin).

There is no need to go back to assonance - this is a stage passed a long time ago.

The creative process consists more in discarding the unnecessary, insufficiently true, unreliable, not bright enough, than in searching. To create each stanza, the world instantly, or almost instantly, substitutes for the poet tens, hundreds of pictures of the past, present, future, and from this great multitude, brought into the creation of the poet by rhyme, some of the observations, knowledge, illustrations are discarded or recorded ... freely trusting the rhyme, sound repetition, the poet, not yet fixed on paper, meets with dozens of directions. Somewhere deep in the mind, a mood of a certain strength and tone is hidden, some main idea is hidden, a theme that seeks its expression in yet unwritten verses. Sometimes this sound work prompts new thoughts, leads away from the supposedly conceived. Sometimes novelty is limited only to trifles, touches, but it also happens that a poem is a discovery, a find, born without a preliminary plan.

The stanzas not yet written down come under the control of thought. Thought vigorously selects the best, most expressive, and here a variant of the poem is written down. Thought can hardly keep up with the flow, driven by rhyme, alliteration, associations of every possible kind.

Work begins on the first version, finishing it is no less stressful work than the first part of the creative process. Here the main idea for which the poem was written comes to the fore. In accordance with this main idea, the poem is rebuilt, the order of stanzas is determined, rhymes and metaphors are honed or replaced. The poem is brought into full compliance with the rules of the Russian language.

Work on a poem can take an indefinitely long time. From time to time you can return to it, all the time clarifying, wanting to improve the text. There are no perfect poems. Any poem is just the best version of what is intended, what the poet wanted to say.

Mikhail Kuzmin remarked that "the first line of a poem is its last line", the ending for which the poem was written. There is a lot of truth in this. Such are the majority of Tyutchev's poems, Tsvetaeva's poems, Kuzmin's own poems, some of Mayakovsky's poems.

There is another observation related to Kuzmin's remark. It is almost always possible to guess (in a short poem, lines 16-20) from Pushkin, from Lermontov, from Blok - from any major poet (the less talent, the easier it is to do what is being said) - which quatrain was written first, which one appeared on paper before others.

There is another circumstance that is important in the process of creating a poem. Every literate person carries in his memory a large number of all sorts of poems that are stored somewhere deep in the brain and remind of themselves in rhythm, passages, lines, moods.

Human feeling seeks expression and finds it in the poet's verses that remain in his memory; there is, as it were, a discharge of mood, feelings into other people's verses. These other people's poems are remembered or re-read, repeated many times and give vent to the mood. And when no "suitable" verses are remembered, when the feeling does not find a way out in familiar texts, not finding correspondence, reassurance in them - then one's own verses are written. And in this case, a magnetic search tool - rhyme moves the layers of events, impressions.

And one more thing: in each poem of each poet there is some kind of novelty, a find. The poem was not written because of this novelty, but without it it would have lost its meaning. In each, even a small poem, some technical task is also posed, no matter how naive it may be. Derzhavin wrote a number of poems without the letter "p". There is always a desire to introduce into poetry a word that has never been in poetry, to put some big word in a line, which even in ordinary speech seems clumsy, angular, but enters the poem unexpectedly freely. For example, "obstetrician". I would like to see in my own stanza "a dance of strange names, which is gratifying for the heart", to write myself - "The Choctos and Comanche Blackfoot and Peru, Delaware and Mogeki" [3].

And this “playful” side of the matter is also involved in the creation of a line of poetry.

But there is no time for jokes when the poet feels that something important, very important, extremely important has been found, that it is not worth continuing further search, that even though the rhyme would need to be improved, any further work on it will worsen the main idea, the main tone , the main feeling that dictated the poem.

And Blok leaves in the stanza, and, it would seem, mediocre, dubious rhymes -

Born in deaf years
The paths do not remember their own.
We, the children, of the terrible years of Russia,
Nothing can be forgotten.

No reader, no listener, notices the rhyme here. Such is the expressiveness, the power of the poem.

Here the expressiveness of the verse is achieved by rhyme, but not in its mnemonic quality and not by the euphony of the “local words”. The rhyme, having served its purpose, played its role as a search tool and was pushed aside.

Blok, and not only Blok, has many such examples. Surprisingly, it turns out that Blok, in his strongest stanzas, did not sufficiently polish the "local lore" proper.

Russia, impoverished Russia,
I need your gray huts,
Your wind songs for me -
Like the first tears of love.

I will give one more extract - from the letter of A.K. Tolstoy[4], dated 1871.

From a letter (Dresden)

...let's talk about art...

... I sometimes write bad rhymes, but not bad poetry. I write bad rhymes deliberately in those poems where I consider myself entitled to be sloppy, but only in relation to rhyme. I never consider myself entitled to write a bad verse...

You see, about rhyme, I'll make you a comparison instead of a dissertation. There is a painting that requires the steady precision of lines - this is in historical paintings. Umbrian, Florentine, even Venetian. There is another kind of painting, where colors are the main thing, but lines are not on ceremony. These are Rubens, Rembrandt, Ruisdael and other Flemings or Dutch. And now, horribile olictu (it's terrible to say), these last paintings would be lost if the line in them were inexorably correct. So, if I paint a picture of large dimensions and with a claim to seriousness, I agree with you that I should be strict about rhyme: but if I write a ballad or other poem in which the impression, i.e., color, paint, - the main thing is that I can casually treat the rhyme, but, of course, do not overdo it and do not rhyme WEDDING with LOCUST . ..

if you want, take an example in poetry. Take Goethe in the Gretchen scene in front of the icon:

is there anything worse than rhymes in this magnificent prayer? This is the only thing in the sense of naivete and truth! But try to correct the texture, give it more regularity, more grace, and everything will be spoiled. Do you think that Goethe could not have written better poetry? - He DID NOT WANT, and then he proved his amazing poetic flair. There are some things that need to be carved; there are others who have the right and even the duty NOT to be trimmed for fear of appearing cold. In the German and English languages, the irregularity of rhyme is allowed, as well as verse; in Russian, only incorrect rhyme is allowed. This is his only opportunity in poetry to appear in a negligee.

In conclusion, I would like to say that I am thinking of acting in the spirit of the Russian language, remaining unshakable in relation to verse and ALLOWING ONE SOMETIMES some free attitude to rhyme. It's a matter of intuition and tact."

Observations by A.K. Tolstoy are true and not a bit outdated to this day.

Blok, just like Goethe, DID NOT WANT that an excessively sonorous rhyme that attracts attention would interfere with the main thing - that which had already entered the verses ...

Pushkin's rhyme is a complete rhyme. But this is an "eye" rhyme. It is not meant to be read aloud. This was shown by Kruchenykh in the twenties in the well-known work "500 new witticisms and puns of Pushkin." But 50 years before Kruchenykh, Alexei Konstantinovich Tolstoy pointed out the need to organize rhyme associated with the sound of a word.

These remarks remain in full force to this day. The beginning of the twentieth century in Russian poetry paid much attention to the issues of rhyme. The euphony, melodiousness, musicality of a poetic line, achieved by full rhyme, find the most vivid expression in Balmont's poems.

I love forest herbs
Fragrant.
Kissing and fun
Non-refundable.

Balmont, despite his talent, still did not have sufficient poetic taste.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
The storm is close, the shore beats
Uncharmed black boat.

This is, of course, artificial, foreign to poetry.

Be that as it may, Balmont was the main exponent of rhyme - melodiousness, harmonious stanza.

In the struggle against Balmontov's rhyme, Mayakovsky's rhyme arose - a typical example of the assertion of the mnemonic role of rhyme.

Speaking our way -
rhyme - barrel,
Barrel with dynamite.
Line - wick,
The string will smoke,
Stitch Explodes,
And city
For air
The stanza flies.
Where can you find -
At what tariff
Rhymes,
To kill, aiming?
Maybe
Heel
Unbelievable rhymes
Only remained,
What's in Venezuela[5].

Both Mayakovsky's book "How to make poetry" and Aseev's article "Our Rhyme" treated the question of rhyme as a novelty, unusualness in the same way - finding this unusualness in compound rhyme or in exercises like "electric", "draw".

Young Lefites even made rhyme preparations and supplied their older comrades with them.

The preparation of rhymes, about which Mayakovsky was so baked, pursued the goal of striking the reader's ear, getting into the reader's memory with the help of an extraordinary phrase, unprecedented rhymes.

Speaking your way,
Rhyme - bill,
Learn through the line! - here is the order,
And looking for
Little suffixes and inflections
In an empty box office
Declensions and conjugations.

“Be sure to try to rhyme an important, basic word,” wrote Mayakovsky.

It is in the mnemonic qualities of rhyme that Mayakovsky sees the main thing. Hence the demand for novelty, extraordinaryness, hence the work on the compound rhyme.

Rhyme is given great attention, although it does not participate in the creation of a poem, but is used from "blanks".

There is a struggle between the melodious beginning and the mnemonic beginning of the rhyme. Full rhyme, melodiousness wins. Mayakovsky is replaced not by Selvinsky, but by Tvardovsky.

In the tenth and twenties, they broke the line and rhyme in all available ways - from “phrasers” to “nichevoks”, from imaginists to original phrase-mongers. Sapgir's poems are strangely reminiscent of the entertainments of Aleksey Nikolaevich Chicherin, the leader of the Nichevoks.

Alexander Blok had a completely different understanding of rhyme than that of Balmont and Mayakovsky. Here is a perfection of a different kind than the pursuit of melodiousness or the desire to achieve rhyme so that the verses are remembered. Here comes the third principle of rhyme, its third meaning. Rhyme serves Blok only as a search tool. After the best, most expressive option is found, the semantic line is taken under control and Blok is sure that the semantic side of the matter is expressed here in the best way - he stops searching not for rhyme, but for that content, that world that rhyme attracted to his poem.

Found the significance, expressiveness of a stanza or a poem as a whole (with the help of rhyme), more than the best rhyme “found in Venezuela” is worth.

Rhyme has fulfilled its purpose, its service, and stepped aside, this is not rhyme for the sake of rhyme, but only a search magnet of the poetic world.

Such is the third meaning of rhyme, about which literary scholars write little, and which nevertheless retains all its objective force.

One can also refer to Byron, who called rhyme a steamboat that takes the poet away against his will in the other direction.

Keys:

Into your furious mind, into your multi-stringed language
I penetrated like a bee-rhyme like a beehive[6].

Shalamov V.T. Collected Works: In 6 vol. + vol. 7, add. T. 5.: Poems. / Comp., prepared. text, eg. I.P. Sirotinsky. Moscow: Knigovek Klub Klugovek, 2013, pp. 38-47.

Name index: Aseev, Nikolai Nikolaevich, byron, Balmont, Konstantin Dmitrievich, Baratynsky, Evgeny Abramovich, Block, Alexander Alexandrovich Bunin, Ivan Alekseevich, Yesenin S. A., Klyuev, Nikolai Alekseevich, Lunacharsky, Anatoly Vasilievich, Mandelstam O.E., Marshak S.Ya., Mayakovsky V.V., Nekrasov N.A., Otfried of Weissenburg, Pasternak B.L., Peter I Pushkin A.S., Sapgir G.V., Severyanin I., Tvardovsky, Alexander Trifonovich, Tolstoy A.K., Tyutchev F.I., Tsvetaeva Marina Ivanovna Chicherin A.N. , Shklovsky V.B.

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• 1. Severyanin I. “Prologue of Egofuturism”.
• 2. Otfried of Weissenburg - German poet of the 9th century, author of the "Gospel Harmony".
• 3. Longfellow Henry Walsworth (1807–1882), The Song of Hiawatha, translated by I. Bunin.
• 4. Tolstoy Alexey Konstantinovich.

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