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A rhyme scheme is the pattern of rhyming lines in a poem or song. It is usually referred to by using letters to indicate which lines rhyme. In other words, it is the pattern of end rhymes or lines. A rhyme scheme gives the scheme of the rhyme.

For example "A,B,A,B," indicates a four-line stanza in which the first and third lines rhyme, as do the second and fourth. Here is an example of this rhyme scheme from To Anthea, Who May Command Him Any Thing by Robert Herrick:

Bid me to weep, and I will weep
While I have eyes to see;
And having none, and yet I will keep
A heart to weep for thee.

A
B
A
B

There are many different such forms, each with its own associations and resonances to cause a particular effect on the reader. A basic distinction is between rhyme schemes that apply to a single stanza, and those that continue their pattern throughout an entire poem (see chain rhyme). There are also more elaborate related forms, like the sestina - which requires repetition of exact words in a complex pattern.

In English, highly repetitive rhyme schemes are unusual.[citation needed] English has more vowel sounds than Italian, for example, meaning that such a scheme would be far more restrictive for an English writer than an Italian one - there are fewer suitable words to match a given pattern. Even such schemes as the terza rima ("aba bcb cdc ded..."), used by Dante Alighieri in The Divine Comedy, have been considered too difficult for English.

Contents

[edit] Example rhyme schemes

[edit] Rhyme schemes in hip-hop music

Hip-hop music and rapping’s rhyme schemes include traditional schemes such as couplets, as well as forms specific to the genre[1], which are broken down extensively in the books How to Rap and Book of Rhymes. Rhyme schemes used in hip-hop music include –

Couplets are the most type of rhyme scheme in old school rap[7] and are still commonly used[8], though complex rhyme schemes have progressively become more common[9][10]. Rather than relying on end rhymes, rap’s rhyme schemes can have rhymes placed anywhere in the bars of music to create a structure[11]. There can also be numerous rhyming elements which all work together in the same scheme[12] - this is called internal rhyme in traditional poetry[13], though as rap’s rhymes schemes can be anywhere in the bar, they could all be internal, so the term is not always used[14]. Rap verses can also employ ‘extra rhymes’, which do not structure the verse like the main rhyme schemes, but which add to the overall sound of the verse[15].

[edit] References

  1. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 95-110.
  2. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 99.
  3. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 100.
  4. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 101.
  5. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 101-102.
  6. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 102-103.
  7. ^ Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 50.
  8. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 99.
  9. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 97.
  10. ^ Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 73.
  11. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 107.
  12. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 104.
  13. ^ Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 74.
  14. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 104.
  15. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 103.

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