How best to rhyme. Learn to rhyme rap - the main lessons of rap

What are complex rhymes?

Complex rhymes is an abbreviation for multi-complex rhymes. Complex rhymes are phrases in which more than one syllable is rhymed. Complex rhymes can be double, triple, quadruple, etc. rhymes.

Common rhyme: cat / hat
Complex rhyme: my cat / hi-hat
Or long complex rhyme: bit my cat / hit the hi-hat

Examples in Russian:

Exact rhyme- in rhyming words, all or almost all sounds match:
guest - bone - nail
daughter - bump - barrel - point

Inaccurate rhyme- very few sounds match in rhyming words, sometimes the rhyme "keeps" on one or two:
story - longing
weapon - detecting
leaves - faces

Simple rhyme- rhyme of individual words:
steel is a pity
autumn - eight
ice - honey
honor is revenge

Complex rhyme- when groups of words rhyme:
from poplars - one hundred fields
I didn't see it - I looked more than once
beige - where am I

Southern rapper Ludacris loves to use complex rhymes in his lyrics. Luda has a proprietary trick of slowing down reading towards the end of a line and underlining the end of each line. This technique works well when he inserts sensible complex rhymes into the text.

Example

I’m never going nowhere, so don’t try me,
my music sticks in fans' veins like an I.V.
Ludacris, "Number One Spot

In this example from track Number one spot, Luadacris adds a complex rhyme of "try me" (test me) and "IV." (Intravenous). He could rhyme "me" with "V."

What's the difference between complex rhymes and inner rhymes?

An example of inner rhymes:

Don’t be silly cover your milli I'm like Billy
Don’t be dumb cover your gun I ain't fun

Dizee Rascal, "Stand Up Tall"

Complex rhymes:

Punchlines that kill ... my hits’ll bury ya,
I rap to myself on the bus like ... schizophrenia

Why use complex rhymes?

Complex rhymes are a sure sign of good rap lyrics and all the best rappers use them. They are more difficult to put together and more impressive than regular rhymes, and therefore command more respect. Complex rhymes will add more variety to your rap lyrics and help improve your lyrics.

How to write complex rhymes?

Composing complex rhymes isn't much more difficult than regular rhymes, but they just take longer. The first step is to determine the line you are going to start with. Take this line for example:

The elite force like army rangers and navy seals,

We will now create complex rhyme with "navy seals." The first step is to make a list of all the words that rhyme with "navy". The easiest way to find rhymes is to use a rhyme dictionary (rhymezone .com), (Russian rhyme dictionary - http://xn-80apmov.su/), and write down the found suitable words, but do not forget that the dictionary only produces “ accurate ”rhymes, but not imprecise. At the same time, imprecise rhymes are very important because they provide more room for writing. This statement is doubly true when using complex rhymes, because otherwise your lines can turn out to be stretched and stupid. Another flaw in rhyming vocabulary is that it does the job for you. If you try to come up with rhymes for a word yourself, then it is more likely that during freestyle you will be able to come up with rhymes during the performance. Therefore, I advise you to resort to the help of a rhyme dictionary only if you are really at a dead end.

Precise rhymes for navy:

gravy
wavy

Inaccurate rhymes for navy:

maybe
baby
lady
rabies
weighty
etc ...

Then repeat the whole process for the second word, in our example it is "Seals."

Precise rhymes for seals:

deals
eels
feels
heels
meals
peels
reels
squeals
steals
wheels

Inaccurate rhymes for seals:

stales
whales
beans
etc ...

Now we need to link the rhymes to the word navy with rhymes to the word seals... The number of possible combinations is very large, try to choose the ones that make sense.

Baby meals
Wavy eels
Lady squeals
Gravy feels
Weighty whales

Then we choose one of the combinations and write a line that makes sense.

I kick it operatic 'til that fat lady squeals

your lyrics are stuffing,
so now I know how gravy feels

I'll call you Gerber

Write a bunch of them, and then choose one line that you like the most. Or you can use several lines, for example, in the following sequence:

The elite force like army rangers and navy seals,
I kick it operatic 'til that fat lady squeals
your lyrics are stuffing, now I know how gravy feels,
I'll call you Gerber
cuz ya spittin 'up some baby meals

In general, this is the easiest way to rap lyrics with complex rhymes. If you understand this simple technique, then it means that you have already made headway in improving rap lyrics.

EXAMPLES OF RAP TEXTS WITH COMPLEX Rhymes and INTERNAL Rhymes:

Contemptuous of your own BELIEFS
We spit in the face suppressing someone's OPINION
Hoping TO FLY FLY OUT
I can't LOOK anymore, stop ENDURING
It's time to SHOW, behind the enemy's back PUNISH
All ONCE at ONCE LEARN
What to do? RUN, SHAKE?
No! Fist clench, red PRESS button
AND THEN become a WHISPER
BY THE RUNNING THUNDER
And flying to the EAST
The history is written by KROVOTSTOK not sparing LINE

I've been rhyming for twenty years, although I don't consider myself a poet. However, during this time, the bear would have learned to rhyme. In the process of writing rhymed texts (they can be called verses only conditionally), I developed simple rules, guided by which any intelligent and intelligent person can learn to rhyme at my level. I myself consider it average. If you are interested - read on, if not - sorry….

Naturally, I did not study at the Literary Institute named after the proletarian writer Maxim Gorky and I came to everything myself, so I will explain everything in simple Russian words, without using the scientific terms "iambic", "trochee", "amphibrachium", etc. I will give examples from my poems, because I know them better.

Rhyming (rhyming, versification) is not an art, but it is subject to the same laws as ordinary versification, which professional poets are engaged in for money. I won't tell you anything particularly new - while working out these rules, I, of course, invented the wheel .... However, let's get started. In order to start rhyming, you need:

1. Muse (for women - music). An attractive creature of the opposite sex (for heterosexuals) or of the same name (for homosexuals), or no matter which one (for bisexuals), which inspires you and causes an inner urge to compose, rhyme, write, etc. If there is no muse, the desire to write never arises, and composing without a desire for it is useless and unpleasant.

2. A teacher (an example to follow, often a spiritual one) is a favorite poet (poetess) who is most in tune with your soul and mind.

3. An incentive (that which "suffers") is an event, phenomenon, person (group of people) that cause admiration or indignation in the soul. You can't compose any poetry without him either.

4. Rhyming technique. This is the simplest and the easiest to learn. For example, I usually use the following rhyming systems:

1) ABAB (I use it most often - it is more difficult to compose, but it sounds more beautiful, since with it one quatrain smoothly flows into another). Example:

To write poetry under duress -

There is NO worse task:

And inspiration does not come

And the plot does not fit ...

2) ABVB (it is simpler, but not so beautiful). Example:

Why should I be a poet?

It is not easy LABOR;

And say you’re not on BEFORE -

So into the powder COFFEE….

3) AABB (in terms of complexity, it is likeABAB, but more "angular" - each couplet, as it were, ends). Example:

Yes, I can, what to hide,

Words and letters rhyme,

But I have such a feeling

That this is not an object of art ...

4) ABBA - I rarely use this form, since it seems to complete the quatrain. However, if you write complete quatrains, then it is quite appropriate. Example:

Spouse of the Comte de la FERE

She loved to put ... a finger in her mouth.

The handsome count was shocked

Seeing these bad manners

But I never use the AAAA form - I don’t like tautology.

There are other rhyming systems, more complex (such as ABVABV), but these four are the simplest and easiest to use. I choose them on their own and on a whim. After all, the main thing is the content, although the form is also important. It should help to better understand and perceive the content. The form can be graceful and refined, like Pushkin's, or it can be rough and chopped, like Mayakovsky's. I like Pushkin much more. Personally, I think that writing should be simple, clear, and understandable for the goat. There are other points of view, but then the reader ceases to understand the author. Why write then? Although ... maybe a person needs to speak out. However, in this case, the poet will have one reader - himself.

Ideas, thoughts and feelings (or at least one of them) should be displayed in the verse. Like any normal literary form (about abnormal - we will not), the verse should have an introduction, a starting point, a culmination, a denouement, in the final - moral (conclusions). Most of all I love writing morality. It can be the quintessence of a verse, or it can be completely unexpected.

There should be logic in the verse, and the laws of cause and effect should not be violated.

You only need to write the truth - you won't lie to yourself, will you?

When writing a poem, it is better not to violate the laws of the country in which you live. If you violate them, then there must be good reasons for this, and you must be ready to take responsibility for this.

If you can not write - do not write.

If you don't enjoy rhyming, don't write.

As soon as you feel that you are tired of writing - immediately stop this business, or finish the verse.

If you are not interested in writing, the reader will not be interested in reading.

Do not write too much (however, natural laziness will help you here).

A sense of humor helps a lot in writing poetry.

Singing is very important - a thought expressed in the first line, or several lines. From it, as from a fertilized embryo, a whole verse can grow, and even a huge poem. For me, for example, it always grew. However, this song during the editing of the verse can be rearranged in the middle or end (if necessary). The baking also sets the shape.

For successful rhyming, it is desirable to have a large vocabulary. You can get it by reading a sufficient number of good books. In general, it is very useful to have a sufficient amount of general culture and some kind of life experience.

It is imperative to be a decent person. Villainy is incompatible not only with genius, but even with rhyming.

Naturally, rhyming requires a fresh head, free time, a notebook and a pen (alternatives are a pencil and eraser, a mobile phone, and a typewriter or computer; however, the last 2 items take away your mobility). Better to write in the morning, at 8 o'clock. I usually do this when I go to work in the minibus. Since the muse can appear at any time, your notebook and pen should always be with you. A rhyme comes to mind - write it down. Some people rhyme at night - I had to do it too. But it is better to avoid this, as it interferes with sleep for relatives (and you too), besides, you do not get enough sleep and walk like "boiled" all day.

So, there is a muse, teacher, inspiration, motive, plan, fresh head, first line, vocabulary, general culture, life experience, decency, time, paper and pen. Have I forgotten anything?

Then we start writing. We rhyme to the 1st line of the 2nd, choosing the words of the required meaning (at the endings of the lines, according to the accepted rhyming system), then the 3rd line, 4th, etc. It is convenient to select rhymes according to the letters of the alphabet, sorting through them from beginning to end. If it doesn't rhyme, change the ending of the line you rhyme with. And if it doesn't rhyme in the evening, try it in the morning.

There are other nuances of rhyming, but you cannot say briefly about them.

And below are my poems dedicated to rhyming, poetry, poets and poetry. There are a lot of them - 35 pieces, this is my favorite topic. Maybe they will help you with something….

Why should I be a poet? http://www.stihi.ru/2011/02/03/5155

Write poetry http://www.stihi.ru/2011/02/03/5189

For professional poets http://www.stihi.ru/2011/02/03/5208

POET AND MUSE http://www.stihi.ru/2011/02/03/5357

I sit with a notebook http://www.stihi.ru/2011/02/03/5373

The main thing in the poem is http://www.stihi.ru/2011/02/03/5401

NOT THE ONE PIT http://www.stihi.ru/2011/02/03/5464

Poet in Russia

In this chapter, I will discuss the general principles of getting a beautiful, effective rhyme. These are purely technical rules that take place precisely in the theory of versification, as in science; we abstract from the content of the poem and its high spiritual level (as many poets like to characterize their creations). I will also try to reflect here some varieties of rhymes, which means that you cannot live without terminology.

First, I always urge poets to strive to find the so-called copyright rhymes - copyright finds; these are original compound rhymes using non-standard combinations of words or their parts. Typically, this rhyme is one of a kind: confession - huts, after all, the Bolsheviks - more than centuries, life from whom - Dzerzhinsky, again I - banana, Caesar - the face of dawn, Kiev - his old people - crucify him, ice cheeks - pilots, whether I - waist, why not - services , they beat their foreheads on the door - I would not believe it ...

Lord poets, are not you bored
pages, palaces, love, lilacs bush to you?
If people like you are creators -
I don't care about anything art. (V. Mayakovsky)

The search for such a rhyme often leads to the need to improve the technique.

I will immediately introduce several terms: if the stress is on the last syllable of the line, then this is male rhyme; at the penultimate - female; on the third from the end - dactylic; on the fourth or fifth - hyperdactyl... The term is also sometimes used superhyperdactyl: when the stress is on the sixth or higher syllable from the end. But this is a specific case that is practically not used in poetic practice. For example: v crystallized- v nominated

The author's rhyme, like many other varieties of good rhymes, belongs to the group of so-called acoustic rhymes- rhymes consisting of words, the rhythmic endings of which are different in spelling, but the same in sound: gr yes- con forever, red avitsa- curls appear, box- main astchik, R go- PLN it goes, exists in- niche th, ch ova- young Wow...

Acoustic rhymes include most of the rhymes in Russian. - accurate to approximate. Acoustic rhymes are divided into objective and subjective. Objective acoustic rhymes are strictly subject to the laws of pronunciation and are perceived by everyone in the same way: we NS b - ry f, here G- stu To, with NS p - p and p, in from- lump od, NS op- l about, l octi- To ogty, R a d - p I am d, on with- ra s...

Things and people ace
surround. And those
and these torment the chap az.
Better to live in the dark.(I. Brodsky)

Subjective acoustic rhymes - consonance of words based purely on individual perception. Such rhymes may seem consonant to some and unacceptable to others. A stupa is a mouthpiece, yours are false, they are vulnerable, sweets are happiness, a long one is wonderful ... Objective acoustic rhymes for the most part refer to exact rhymes, subjective - to approximate ones.

Vowels and consonants in rhyme should be similar (make up species pairs). That is, it is not so important whether the endings are similar. Gorado is more important what letters are present in the syllable preceding the ending. For example, the rhyme "golden - dear" is bad not only because it rhymes the same parts of speech in the same form, but also because of the "dissimilarity" of the letters "t" and "g". The stressed syllable (here "toy", "goy") should rhyme as accurate as possible.

And soul, relentlessly

Hurrying into darkness

Will flash over the bridges

In the Petrograd smoke ...(I. Brodsky)

The stressed syllables ("hundred (n)" in the first and third lines, "mu" in the second and fourth) match perfectly. And what comes after the stressed syllable ("but" and "mi") does not rhyme at all, but it doesn't matter. So: the most important thing is to rhyme the stressed syllable; what comes after him needs much less rhyme. One of the varieties of such rhyme is, for example, root - when the root of the word is stressed and, accordingly, rhyming.

The most literate of these rhymes - and the most beautiful - is pre-shock rhyme .. This is the most consonant of the assonant rhymes; rhyme with the coincidence of the stressed vowel and pre-stressed sounds or syllables. The greater the sound similarity, the more consonant the rhyme. Pre-stressed rhyme is the only rhyme in which word clauses may not play a rhyme-forming role. Ships ryny - since oud read, field rr - field knowing span ry - span whether, koro beats - koro wushka, sit down ha - sit down do, WHO nor - take mi, bare woo - bare mu ...

Here are the girls - they want liu bwi.
Here are the boys - they want to go hiking.
In April the weather changes
unite all people with liu dmi.(B. Akhmadulina)

In search of happiness, work, g thirst ness
a strange custom arose in Russia:
children are tired of us birth be, -
believe that we can live without them.(R. Rozhdestvensky)

However, you should not give up on deep rhymes - from words in which, in addition to endings, whole pre-stressed syllables coincide. Water- about water, fields- then fields, to be- per to be, it's time- then it's time. Deep rhyme can be thought of as a rhyme of words, the pre-stressed parts of which have great sound similarity and can compensate for the lack of consonance of the post-accented parts of words.

But there is one point to consider. The hissing, present at the end of a word, albeit after the stressed syllable, requires another hissing rhyme in response. Whistling - requires whistling. Why are sibilants and sibilants so demanding? Because when reciting, we most often swallow post-stressed syllables, and sometimes pre-stressed. But hissing and sibilants sound harsh, do not swallow and are striking even outside the stressed syllable. Therefore, one must be especially attentive to them. For example,

Or, finding a riot on board

Tears a pistol from his belt

So that gold is pouring from the lace,

With pinkish Brabant cuffs.(N. Gumilyov)

Here, in 1-3 lines, the rhyme is simply brilliant: a participle against a noun, and they are similar, like twin brothers. And although the stressed syllable is "ru", the letter "z" is underlined very noticeably. In lines 2-4, the opposite is true. Not a bad, in general, rhyme (unusually effective from the point of view of content) is somewhat spoiled by the poor combination of the letters "l" and "zh". However, in Gumilev's work, chic technical rhymes are often intertwined with weaker, but more meaningful ones.

The most difficult for rhyming of this kind is dactyl, because after the last stressed syllable there are two more unstressed ones, which should also be consonant. Example:

What am I to do, singer and firstborn,

In a world where the blackest is gray!

Where inspiration is stored, like in a thermos!

With this immensity in the world of measures ?!(M. Tsvetaeva)

In 1-3 lines, there is a tetrametric dactyl with one syllable missing, and the rhyme is not very good from a technical point of view, but quite beautiful. The rhyming part is "per - ter". Here's a better example:

No shield, no visor - a downy red robe,

The aged king awaits the last procession ...

And once - he remembers - there was a romance in his life:

He, like a little boy, ran after plump princesses ...

In all stanzas there is an ideal rhyme for such a syllable, when not small parts rhyme, but almost whole words.

One more point. Vowels are subject to even stricter norms than consonants. It is desirable that they are altogether the same, and not consonant (that is, "a" - "I" is not a good option). And even more so, you cannot leave a solid sound in one line, and a soft sound in a line rhymed with it. Soft - always with soft, hard - with hard.

It beats in a sparkling restless night,

She dances when the sun rises over the bed.

Wants to leave a funny electronic device,

Wants to spill over the white hospital room.

Here the soft "t" annihilates the destructive influence of the dissimilar vowels "u" and "e". And - note: the words "at night" and "priborchik" are not a clear rhyme, but due to the presence of a hissing one, they are consonant to such an extent that such a rhyme is not only permissible, but even very effective. I strongly recommend using this property of hissing, sibilant and soft sign (that is, we pay attention to them, not concentrating on the fuzziness of other rhymes).

In addition, I would like to note the following. Try to use, in general, not exact rhymes (spider - sound), but imprecise. The most beautiful and cozy variety of imprecise rhyme is superstructure (truncated, added) (story - longing), where after a precisely rhyming syllable there is nothing in one half of the rhyme (ends in a vowel), and in the other there are also consonants (one or two, rarely three). Yoted rhyme- the most common version of truncated rhymes; an equisyllabic rhyme from words with an open and a closed syllable, the latter ending in "y" (j - iot). NS ole- v olei, this- l eto, b uri- f uriah, poch silt- could silt, OK ova- n new, d minds- eel yumy, v deer- NS full, n ashi- h ashe...

We grow by deploying pl echi,
Conquering the air, radio, ki but;
But - through the new look of man hey
Suddenly through the century in Oh. (N. Aseev)

Also look beautiful unequal rhymes (like Mayakovsky: bumping - sobriety) and, of course, assonant rhymes. These are the ones that I already wrote about, where the syllable clearly rhymes, and what follows it is at most consonant, but not an exact rhyme.

I rode on the top shelf, nozzle-sad about the gone happiness,

Neither legs nor brakes practically held me,

When, like a grenade explosion, a snow-white hawk appeared outside the window

Somewhere near the small station Amazar.(O. Medvedev)

In this example, a wonderful truncated rhyme in 2-4 lines and a gorgeous just consonance in 1-3. This consonance is called friendly rhyme. This is what we should strive for.

To the remarkable varieties of rhyme, I also include the following types, strongly recommending their use.

Rhyme with an inlay- a rhyme combination of words, in which a consonant is wedged into the clause of one of them, more often immediately after the stressed vowel. the opposite of a dropout rhyme: m ride- with e eh db, br eg- pov erg, G od- l O R d, l itr s - f and eh tr s, in ace- v a eh with, cl etc a - stud e n mk a, p aduga- ig ra be arc...

Tell me, if St. no?
And that the slightest distant stars rides? (M. Lomonosov)

Rhyme with dropout- the opposite of a rhyme with a wedge.
s O n tick- copy otica, G O R e- dv oh, otv er T ka- kill orc, NS at with be- NS duck…

How many of them fell into this b ez d Well,

Deploy far away!

The day will come when I will be gone eznu

From the surface of the earth.(M. Tsvetaeva)

Rhyme with alternation(permutation) - a rhyme in which consonants or even parts of a word alternate with each other, creating the illusion of sound similarity. xero cop- faith sc, ri fm a - neither mf a, u rt a - y tr O, alibi- gr abili, To arla- To rala, rod- dead body, scheme - laughter, NS jester th - raznosh erst oh, prisk orbn o - under robn O… The only thing I will note is that it is better to use this case in rhymes of 1-3 lines of the quatrain, that is, not in those on which the main emphasis is placed in the poem, since they are rather approximate.

A considerable part of the words of the Russian language have a predisposition to twofold rhyme: this allows them to rhyme with different words, which, in turn, do not rhyme with each other. Double rhyme is a kind of superstructure (truncated) rhymes. A characteristic feature of double rhymes is two fixing consonants at the end of one of the words, which gives such a word the potential to rhyme in two ways (in addition to the main one, when the clauses coincide completely).

1. Tabor - rapor T ... In this rhyme, "t" can be hidden.

2. West - rapo R T... In this rhyme, "p" falls out.

Vera with- xero cop, slope vomit- bogomate pb, cr st- ree pp, washed be- cute st, boldly st- sang sit…

Russian women quiet pr eles th,
And where do you get your strength?
So with you to the end and not sp elis b
Foreign fashion and lies.(I. Utkin)

An interesting and good kind of rhyme is absolute rhyme - a rhyme consisting of words that are identical in their sound composition, with the exception of the stressed vowel (hard in one word and soft in another).
Sl O g - sl e g, head I am lazy - head a lazy, arr O k-arr e k, m NS lo - m and lo, bl at for - bl NS for, t O mny - t e mny, zab NS th - zab and th, l O Ms - l e Ms, m e tr - m NS tr, gr O PS - gr e PS, min e p - min O p, sweat O mki - sweat e mki, simple NS l - simple and l, t O men - t e men, sl NS t - sl and th, in NS settles - in and selitsa, cl O n - cl e n ..

I would not stain with ink fingers,
I didn't litter the attic with paper,
And behind the bureau, like a girl on hoop,
I wouldn’t sit down to write poetry.(A.S. Pushkin)

Bad rhymes

If there is a rhyme, this does not mean that it is good and adorns the poem. Bad rhymes, unfortunately, are found here and there in the works of modern poets, almost all the time you have to pinch your ears with your hands so as not to hear such opuses. At various festivals, sometimes the confidence of this or that poet in the wonderfulness of his poem reaches the point of absurdity, and meanwhile, the rhymes there are primitive to the extreme. I conventionally divide bad rhymes into several categories:

Consonances, or wrong rhymes... Everyone knows the line "... and kiss me everywhere, I'm eighteen already ...". "Everywhere - already", "you - me" - these are just bad, incorrect rhymes, more precisely, these are consonances. There is something in common in these words, they are consonant (not "herring is a cockroach"), but this is not a rhyme... You just can't rhyme like that, because these words don't really rhyme. In addition to the "everywhere - already" and "you - me" mentioned by me, one can also note "the balcony is blue", "the road is a book" and so on. Such errors are found mainly in the poems of very young poets or mediocre poets, devoid of a sense of rhyme.

Single root rhymes... It is STRONGLY not recommended to rhyme the same root words. This is a terrible primitive: they say, I did not find a suitable word and rhymed with a similar one-root. This only speaks of the underdevelopment of the poet's vocabulary and the inability to replace a word with a synonym. A canonical example of such a "rhyme" I would call Kinchev's "centuries - millennia". It is also often "boots - low shoes", and the wonderful bard Vyacheslav Kovalev joked about such rhymes, deliberately rhyming in one song "square - living space" (this is not quite the same root, it is semi-autologous rhyme). In fact, these are the same words, just in a slightly different form. The worst case of a single root rhyme is single-root verb: for example, “came - came” or “hacked - chopped”. Such rhymes are primitive even for two reasons. The second is discussed below.

This subspecies includes epiphores or tautological rhymes- when the word rhymes with itself. Many remarkable poets used this technique in their work, but it has long become outdated and is now considered simply primitive. Canonical example:

“Everything is mine,” said the gold;
“Everything is mine,” said the damask.
“I'll buy everything,” said gold;
“I'll take everything,” said the damask.(A.S. Pushkin)

TO semi-autologous rhymes include the ones I mentioned above "Boots - low shoes", and "Love - love", "us - you."

Here I will make one digression. There is a type of rhyme like homonymous ( or redif)... She not is single root and belongs to good rhymes. The fact is that homonyms, despite the fact that they are spelled the same, are not single-root words, and not the same. Example:

Suddenly to the Bear, here attack,

The bees took it into their heads attack. (J. Kozlovsky)

At the same time, attack-1 and attack-2 here are completely different parts of speech.

Poor rhymes- insufficient rhymes in which only stressed vowels are consonant, for example: star - wave, wine - easy, sing - love, dawn - ringing, share - sea and so on. In fact, the same as assonance.

Your rays of heavenly power

My whole life is ozare on.

Will I die, are you over the grave

Burn, burn, my stars Yes! (V. Chuevsky)

Rhymes composed of words of the same parts of speech in the same grammatical forms are also considered poor, especially if the rhyme vocabulary of such words is very large. So, due to its simplicity - it is not difficult to choose such a rhyme - they call poor rhymes verbal rhymes, as, for example, on "at": fly - moan - read - know - play - write - hold ...; rhymes from adjectives in "oh" (over 1200 words): b big - simple - dry - dumb - steppe - mischievous ...; rhymes from nouns to "aniye" (more than 1000 words): fortune telling - desire - knowledge - wedding - sparkling - radiance - chirping ... The most common type of poor rhyme is parallel rhymes in which the same parts of speech rhyme in the same form (these include verbs). Tautological and semi-autologous rhymes are considered extremely poor.

Homogeneous rhymes- a kind of poor rhyme. This rhyme is found almost exclusively in verbal rhymes. In general, there are very, very few good verbal rhymes. Most often it turns out something like "passed - gored" or "slipped through - denounced." Or infinitives: "to want - to whistle." It seems like the roots are different, but the same form of the word gives off the same primitiveness. Thus, rhyming is permissible, but simply undesirable: it does not add beauty. The same applies to rhymes adjective - adjective (for example, "funny - gloomy"). Nouns can rhyme with nouns, but there is another danger here.

Graphic rhymes- rhymes from words, the endings of which coincide in spelling, but do not match in sound. Without forming an auditory harmony, graphic rhyme is purely conventional (rhyme for the eyes) and is almost never used today. Large Wow- a little Wow(ovo-oh), ut eu- l eu(es - es), cf. in person- bunk in person(in person), in forever- con forever(always), cm white- the weight white(spruce - spruce).

Banal (hackneyed) rhymes... It also happens when the roots are different, even if the forms are different, and the rhyme is good from a technical point of view, but it sounds bad. Weird! The fact is that such a rhyme, due to its explicitness, has already been used hundreds of times in poetry and therefore has become simply hackneyed: Again - love - blood(canonical example) ... Night - daughter - away. Loving you. Difficult - wonderful. Joy is youth. Evening - meeting - candles. Tears - frosts - dreams - roses. Fight is destiny. Century is a man. Feeling is art. Nice rhymes, but overused. As in the previous case, such rhymes are permissible.

Note that there are countless bad and weak rhymes. It is much easier to remember which rhymes should be used, and to use them in versification.

Moreover, my goal is, of course, not to demonstrate the bad, but to demonstrate the good. There are many good, solid rhymes that you can not just use, but you need to use in poems. Moreover, you cannot dwell on any one option, knowing that it is good, but constantly mix these rhyme options to get a complex and effective poem.

I've been rhyming for over twenty years, although I don't consider myself a poet. However, for such a long time, the bear would have learned to compose rhymes. In the process of writing rhymed texts (they can be called verses only conditionally), I developed simple rules, guided by which any intelligent and intelligent person can learn to rhyme at my level. I myself consider it average. If you are interested - read on, if not - sorry….
Naturally, I did not study at the Literary Institute named after the proletarian writer Maxim Gorky and I came to everything myself, so I will explain everything in simple Russian words, without using the scientific terms "iambic", "trochee", "amphibrachium", etc. I will give examples from my poems, because I know them better.
Rhyming (rhyming, versification) is not an art, but it is subject to the same laws as ordinary versification, which professional poets are engaged in for money. I won't tell you anything particularly new - while working out these rules, I, of course, invented the wheel .... However, let's get started. In order to start rhyming, you need:
1. Muse. An attractive creature that matches your sexual orientation, who inspires you and evokes an inner urge to compose, rhyme, write, etc. If there is no muse, the desire to write never arises, and composing without having a desire for it is useless and unpleasant (including for others).
2. A teacher (an example to follow, often a spiritual one) is a favorite poet (poetess) who is most in tune with your soul and mind.
3. An incentive (that which "suffers") - an event, phenomenon, person (group of people), which cause admiration or indignation in the soul. You can't compose any poetry without him either.
4. Technique of rhyming. This is the simplest and the easiest to learn. For example, I usually use the following rhyming systems:

1) ABAB (I use it most often - it is more difficult to compose, but it sounds more beautiful, since with it one quatrain smoothly flows into another). Example:

To write poetry under duress -
There is NO worse task:
And inspiration does not come
And the plot does not fit ...

2) ABVB (it is simpler, but not so beautiful). Example:

Why should I be a poet?
It is not easy LABOR;
And you say that it is not necessary -
So into the powder COFFEE….

3) AABB (in complexity it is like ABAB, but more "angular" - each couplet seems to end). Example:

Yes, I can, what to hide,
Words and letters rhyme,
But I have such a feeling
That this is not an object of art ...

4) ABBA - I rarely use this form, since it seems to complete the quatrain. However, if you write complete quatrains, then it is quite appropriate. Example:

Spouse of the Comte de la FERE
She loved to put ... a finger in her mouth.
The handsome count was shocked
Seeing these bad manners

But I never use the AAAA form - I don’t like tautology.

About the content.
Ideas, thoughts and feelings (or at least one of them) should be displayed in the verse. Like any normal literary form (we won't talk about abnormal ones), the verse should have an introduction, a starting point, a culmination, a denouement, and in the final - morality (conclusions). Most of all I love writing morality. It can be the quintessence of a verse, or it can be completely unexpected.
There should be logic in the verse, and the laws of cause and effect should not be violated.
You only need to write the truth - you won't lie to yourself, will you?
When writing a poem, it is better not to violate the laws of the country in which you live. If you violate them, then there must be good reasons for this, and you must be ready to take responsibility for this.
If you can not write - do not write.
If you don't enjoy rhyming, don't write.
As soon as you feel that you are tired of writing - immediately stop this business, or finish the verse.
If you are not interested in writing, the reader will not be interested in reading.
Do not write too much (however, natural laziness will help you here).
A sense of humor helps a lot in writing poetry.

For successful rhyming, it is desirable to have a large vocabulary. You can get it by reading a sufficient number of good books. In general, it is very useful to have a certain amount of general culture and some kind of life experience.

It is imperative to be a decent person. Villainy is incompatible not only with genius, but even with rhyming.

So, there is a muse, teacher, inspiration, motive, plan, fresh head, first line, vocabulary, general culture, life experience, decency, time, paper and pen. Have I forgotten anything?

There are other nuances of rhyming, but you cannot say briefly about them.

And below are my poems dedicated to rhyming, poetry, poets and poetry. There are many of them - this is my favorite topic. Maybe they will help you with something….

Why should I be a poet?
Write poetry
For professional poets
THE POET AND MUSE
I sit with a notebook
The main thing in the poem
Repentance
NOT THE PIT
ALAS
YES I CAN
MUSE
Poet in Russia
Departure of the poet
Memorandum
Talent and genius
Poets dedicated to their wives
Understand a person
I went to the Ranevsky dacha
Poetry zone
I have a custom
This Yalta is good for everyone
Wrote poetry in the shade of an olive tree
Create worlds
Here comes the muse
Reward from the universe
Thoughts and fingers
POET WITHOUT MUSE
Muse's desire
Non-pearl poems
My new verse
When the poet is so many years old
Poetry and the Greeks
And they will tell me
Write poetry in the morning
Creator
Rest on our laurels
But it would be better if it weren't there
Write a verse - it takes half an hour
There would only be a muse
Confession
Amphibrach
I love that moment most of all
Enter Nature in unison
Poet and people
About one poet
As I wrote "Ohalny cycle"
I AM LIKE PIT
About those verses that they write for themselves
Ballad about an ordinary piita
Although fun, like you, love
I've been rhyming for twenty years
Gift of MUSA beauty
What for?
Bust at home
In my poems I
Poems are born in motion
THREE MUSES
It's so good that our muses
You reread the verse repeatedly

Instructions

In the exact rhyme, a couple of words are used, the last syllables of which are strictly consonant: enemy-darkness, hatch-trick, etc. this rhyme is the most common and often serves as a criterion for evaluating the poet's skill.

The approximate rhyme is based on the similarity of syllables, but allows for greater freedom of choice of words: syllables-tokens, -broken. The simultaneous use of voiced and voiceless consonants, as well as consonants of the same row (k-x-d) is allowed. Sometimes aspiring poets abuse this kind of rhyme, which makes the creation sloppy.

In different eras, rhymes looked different. So, in Pushkin's time, precise rhymes prevailed.

There are several classifications of types of rhymes.

Classification by coincidence and mismatch of morphemes

The transition to an approximate rhyme took place in the middle of the 19th century.

3. An imprecise rhyme allows 2 variants of its existence. At the first, the stressed phonemes match, nothing else matches. Example: dancing - hanging around.

In the second case, stressed vowels are different, and all other sounds are the same. Example: bookish - false.

Stress classification

1. Masculine rhyme has on the last syllable from the end. Examples: said - fell; in the hills - in the dark.

2. The feminine rhyme is stressed on the penultimate syllable. Example: squirrel is an arrow.

3. With dactylic rhyme, the stress falls on the third syllable from the end. Example: nailed - spellbound.

4. Hyperdactylic - the rarest type of rhyme with an emphasis on a syllable that is located 3 syllables further from the end. Example: sloppy - coughing.

Classification by coincidence of pre-stressed phonemes

In the XX century. there is a tendency for rhyme to shift to the left, i.e. deep into a word or line.

1. If the pre-stressed phonemes coincide, then the rhyme is called strict. Example: strict - prison.

2. If there is no coincidence in the previous phonemes, then the rhyme is poor. Example: love is a carrot.