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    Pat Pattison's Songwriting: Essential Guide to Rhyming: A Step-by-Step Guide to Better Rhyming for Poets and Lyricists
    Pat Pattison's Songwriting: Essential Guide to Rhyming: A Step-by-Step Guide to Better Rhyming for Poets and Lyricists
    Pat Pattison's Songwriting: Essential Guide to Rhyming: A Step-by-Step Guide to Better Rhyming for Poets and Lyricists
    Ebook203 pages1 hour

    Pat Pattison's Songwriting: Essential Guide to Rhyming: A Step-by-Step Guide to Better Rhyming for Poets and Lyricists

    By Pat Pattison

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    About this ebook

    (Berklee Press). Find better rhymes, and use them more effectively. Rhyme is one of the most crucial areas of lyric writing, and this guide will provide you with all the technical information necessary to develop your skills completely. Make rhyme work for you, and your lyric writing will greatly improve. If you have written lyrics before, even at a professional level, you can still gain greater control and understanding of your craft with the exercises and worksheets included in this book. Hone your writing technique and skill with this practical and fun approach to the art of lyric writing. Start writing better than ever before! You will learn to: Use different types of consonant and vowel sounds to improve your lyric story * Find more rhymes and choose which ones are most effective * Spotlight important ideas using rhyme. The second edition of this classic songwriting text contains new strategies and insights, as well as analyses of the rhymes of Randy Newman, Warren Zevon, T.S. Eliot, and other songwriters and poets.
    LanguageEnglish
    PublisherHal Leonard LLC
    Release dateApr 1, 2014
    ISBN9781480394704
    Pat Pattison's Songwriting: Essential Guide to Rhyming: A Step-by-Step Guide to Better Rhyming for Poets and Lyricists
    Author

    Pat Pattison

    PAT PATTISON is the TV host of the nationally-syndicated travel show “The Best of California with Pat Pattison” and a Hudson Institute-certified creative career coach. On the heels of a successful career as an executive at Disney, Pat reinvented himself at 55 by becoming a television host, a commercial actor, and a senior print model. His passion now is to help others successfully remake their own lives to fulfill their creative dreams or simply start a new path. In addition to running career reinvention workshops and doing one-on-one coaching, he appears on numerous TV news outlets and is a regular contributor on PBS’s NextAvenue.org and on Forbes.com on issues of creativity, aging and career reinvention.

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    Book preview

    Pat Pattison's Songwriting - Pat Pattison

    To Jason, Holly, Suzanne, Maia, Olivia, Jim, Gillian, Sandy, and Chris for your love and support.

    To my brothers and sisters: thanks for the pins you keep

    at ready to stick into my balloon when it gets too full of hot air.

    And to my darling wife, Clare McLeod. You make everything possible.

    Berklee Press

    Editor in Chief: Jonathan Feist

    Vice President of Online Learning and Continuing Education: Debbie Cavalier

    Assistant Vice President of Operations for Berklee Media: Robert F. Green

    Assistant Vice President of Marketing and Recruitment for Berklee Media: Mike King

    Dean of Continuing Education: Carin Nuernberg

    Editorial Assistants: Matthew Dunkle, Reilly Garrett, Zoë Lustri, Sarah Walk

    Cover Design: Ranya Karifilly, Small Mammoth Design

    Drawing of Rhyme Types Man: Rachel Kice

    HASTEN DOWN THE WIND

    Words and Music by WARREN ZEVON

    © 1973 (Renewed) WARNER-TAMERLANE PUBLISHING CORP. and DARKROOM MUSIC

    All Rights Administered by WARNER-TAMERLANE PUBLISHING CORP.

    All Rights Reserved

    FEELS LIKE HOME

    Words and Music by RANDY NEWMAN

    © 1996 RANDY NEWMAN MUSIC (ASCAP)

    All Rights Reserved

    ISBN 978-1-4803-9470-4

    1140 Boylston Street

    Boston, MA 02215-3693 USA

    (617) 747-2146

    Visit Berklee Press Online at

    www.berkleepress.com

    Study with

    ■ Berklee Online

    online.berklee.edu

    7777 W. Bluemound Rd.  P.O. Box 13819  Milwaukee, WI 53213

    Visit Hal Leonard Online at

    www.halleonard.com

    Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher.

    Available proceeds from the sales of our products are contributed to the scholarship funds of the college.

    Copyright © 1991, 2014 Berklee Press

    All Rights Reserved

    No part of this publication may be reproduced in any form or by

    any means without the prior written permission of the Publisher.

    Contents

    ACKNOWLEDGMENTS

    FOREWORD BY GARY BURR

    PREFACE

    INTRODUCTION. DO I HAVE TO RHYME?

    Something Unnatural

    Something Cliché

    CHAPTER 1. RHYME IS YOUR FRIEND

    Shaking Hands

    Masculine Rhymes/Feminine Rhymes

    Finding Rhymes

    Using Your Rhyming Dictionary

    CHAPTER 2. EXCHANGING BUSINESS CARDS

    Rhyme Spotlights Ideas

    Rhyme Connects Ideas

    Going Deeper

    CHAPTER 3. GETTING REFERENCES

    Worksheets

    CHAPTER 4. FAMILY FRIENDS

    Expanding Rhyme Possibilities

    Perfect Rhyme Substitutes

    Family Rhyme

    Phonetic Relationships

    Plosives

    Fricatives

    Nasals

    Feminine Family Rhymes

    Syllables Ending in More than One Consonant

    L and R

    CHAPTER 5. FRIENDLY RELATIVES

    Additive/Subtractive Rhyme

    Words Ending in Vowels

    Syllables with Consonant Endings

    Family Additives

    Subtractive Rhyme

    CHAPTER 6. KISSIN’ COUSINS

    Assonance Rhyme

    Feminine Assonance Rhyme

    Consonance Rhyme: From Birth to Death

    Partial Rhyme: From Cradle to Grave

    CHAPTER 7. THE FRUITS OF FRIENDSHIP

    CHAPTER 8. SONIC BONDING

    Internal Rhyme

    Assonance

    Simple Assonance

    Hidden Assonance

    Family Assonance

    Alliteration

    Horizontal and Vertical Consonant Families

    The Activity of the Air Column

    Concealed Alliteration

    Juncture

    Voice Leading and Prosody

    CHAPTER 9. CRAFT AND RHYME TYPES

    AFTERWORD

    ABOUT THE AUTHOR

    Acknowledgments

    I’m delighted to get a second look at this material. Since it was first published in 1991, I’ve picked up a few things. I’ve had to, if only to keep ahead of my amazing students at Berklee College of Music. They and the students in my online courses and in my seminars across the globe always push me to dig deeper, to see more, to keep paying attention. So there’s a lot of new information in this edition, plus some pretty nifty refinements of the original concepts I introduced in the first edition.

    There’s nothing like having to articulate something clearly for others to make you see it more clearly yourself. Thank you Debbie Cavalier and Carin Nuernberg at Berklee Online for the opportunities you’ve given me. Writing and filming five online courses really forced me to clarify and organize my ideas in ways I hadn’t done before. Thanks also for inviting me to write and film the songwriting MOOC for Coursera.org. Coursera has allowed me to reach, so far, more than 100,000 songwriters all across the globe, with still no end in sight. Amazing.

    Berklee Press gave me my first opportunity to put the word author beside my name. In retrospect, my two Berklee Press books opened a lot of doors that might never have opened for me otherwise. Now, once again, I have the chance to take a clearer look at both this book and soon, my book on form and structure. Thank you Jonathan Feist for your wonderful editing, for your belief, and your enthusiasm.

    Thanks to our Berklee songwriting faculty for providing such a stunning experience for our students, and for creating an atmosphere that encourages creativity and learning, not only in the classrooms, but peer-to-peer. The opportunity to share and examine ideas is essential to growth. It certainly has been for me. Thanks Jack, Jimmy, Scarlet, Mark, Susan, Jon, Dan, Michael, John, and now Bonnie Hayes, for all you continue to bring to the table. Together, we are creating quite a legacy through our students, as the careers of alumni like John Mayer, Gillian Welch, Tom Hambridge, Greg Becker, Liz Longley, Amy Heidemann, and so many others clearly demonstrate.

    And thanks to all the industry professionals across the globe who have been so generous to both my students and to me. Especially to Warner Music Nashville for continuing to host and support our annual Nashville trip, providing our students the opportunity to hear from Nashville’s best and brightest for twenty-seven years now. Hearing each year from the likes of Eddie Bayers, Mike Reid, Janis Ian, Gary Burr, Gary Nicholson, Kathy Mattea, Kyle Lehning, Beth Nielsen-Chapman, Josh Leo, Marcus Hummon, Don Was, Elliot Scheiner, and so many more not only inspires and energizes our students, but continues to provide me with a remarkable window into what is possible creatively. Their insights so often find their way into my classroom and into my writings. And certainly into this book. Deepest thanks to Stephen Webber and Mark Wessel, my co-captains on the Nashville trips, for making it such a rich experience for so many generations of students. And to Clare McLeod, for keeping us all in balance.

    Finally, my deepest gratitude to Berklee College of Music, where I’ve made my life’s work for forty years, now. I’ve loved every minute.

    Pat Pattison

    October, 2013

    Foreword

    I began writing songs when I started my first band at the age of seventeen. At first, we played other, more famous bands’ (every other band in the universe) songs. When my band mates and I realized that those songs were mostly written by the rhythm guitarists….my fate was sealed. They turned to me, their rhythm guitarist, and said, You must write our songs. And so, I began writing songs. Terrible, terrible songs.

    It took me twenty years before I wrote a song I was truly proud of, from beginning to end. I had no idea how it was done. I stole, I butchered, I bored. Over twenty years, I slowly figured it out and became a songwriter.

    What you hold here in your hands is a Time Machine. It is going to allow you to leap over those twenty years of writing bad songs.

    I met Pat quite a few years ago when he asked me to speak to a group of Berklee students who were on his annual spring break trip to Nashville. I have nothing but respect for anyone who will stand in front of those eager faces and answer their questions. So, every year, I jump at the chance to face that roomful of younger, more attractive, possibly even more talented writers than myself… to try and talk them out of a career in songwriting. (I do not respond well to competition.) I have done this over

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