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The texts of the chants are predominantly prose, and the pervasive assonance represents a conservative trait.
For this reason, assonances (or even the full repetition of syllables or words) feature most prominently at these points, as a quick-fix to launching or concluding the musical structure.
I have chosen to ignore the repetition of 'you' in the second line, which hints at a kind of assonance between the two halves of the line.
Most of the forms depend on number of syllables per line, as well as assonance, consonance, and alliteration.
Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects.
Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play.
Internal rhyme is used extensively in rap/hip hop music, where it sometimes overlaps with assonance.
The stanza of the martinete is the cuarteta romanceada: four eight-syllable lines, rhyming in assonance abcb.
His lyrics contain layered rhythms, multi-syllabic compounded rhymes, internal half rhymes, assonance, and ear-bending enjambment.
Elements of the structure of the poem, like rhythm and sound combinations (rhyme, echoes, assonance, etc.) are often more important than semantics per se.
Assonance occurs more often in verse than in prose.
Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout.
Assonance is a rhyme, the identity of which depends merely on the vowel sounds.
Furthermore, the lyrics tend to be written in eight-syllable quartets, with assonance in the first and third verses.
The poem has an extremely unusual structure, combining a four-stress alliterative line, a tight rhyme scheme, and regular use of assonance.