Rhyme Schemes,Flow,and Tongue Twisters

First I'll start off with a short verse as a demonstration of rhyme schemes, accenting, and mixing part of your multies to make internal rhymes and to smoothe out the flow:

snifflin-rocks skin~drippin,~slit~ya wrist-wit-ya-watch
riddle~ya critical-spots with the swiftest-of-chops
my spittin-is-caught, boiled then the venom-gets-shot
into-ya-armz sendin-ya-heart into adrenaline-shock
till ya sit-n-juss-rock, spillin ya phlegm-wit-a-hock
blood centers-n-clots, pumps out n drips-in-ya-socks
if you feel-it-or-not i'm still~spittin~criminal-thoughts
subliminals-drop n leave u cringin,~spinnin-ya-top
with the syllables-chopped, bitch, i'm grippin-a-glock
the clip-has-been-stocked, locked back, lifted-n-cocked
a twisted-mirrage, segments' beggin my killin-to-stop
i'm sicker-than-y'all, chug a shot wit amoxycillin-atop[/I]

You'll notice there's a lot of accenting in here...Making ill rhyme with sit...it sounds right when u spit it, but juss looks funny on text...so bear with me...

You'll notice I used ~'s to mark certain words n link certain words together...skin~drippin~slit~ya...still-spittin, cringin...these are the internal rhymes based off the multies..."Segments beggin" is internal rhyming, but not based off the multies scheme...You'll notice skin, drippin, slit ya, still, spittin and cringin all have the same base sound the "I" sound..."ick, it, is, ip"...which is also the first syllable in the multie pattern...you get the point? These sound in the song as if they are rhyming many a multie, but all it really is would be juss some internal rhyming that is based off the multie...We could've gone the other way with it, and rhymed stocked, stop, top, drop, etc...as our internal rhyme...cuz that's the other syllable rhyming together in the multie...Either way is fine, and locked does rhyme in three lines from the last line...

The key is to find a good rhyme pattern you can keep up for a few lines, and once u have this, figure out the basic tempo of ur flow, the number of beats...juss humming a da-da-da-da-da will work to do this, juss hum the beat you want in ur voice, and incorporate the rhyme schemes in as such...If you have beats, write to those...It truly does help, trust me haha...

If I have a standard twelve-beat per-line pattern I'm using for flow, and it breaks down into three four-syllable segments, i can use three four-syllable multies, or i can use one at the beginning, use a connecting concept to link to the second one, and then go on in my next line...Keeping it all tied together by using the same rhyme pattern for an extended period (more than two lines)...

You must also remember that in text, even though peeps will tell you it doesn't matter, keep ur lines semi-even...It's all appearance, yes, but peeps are more likely to pick up ya flow if u keep ur lines about the same length...as in measureable inches on the screen lol...

blah-blah-blah blah-blah-blah blah-blah-blah
bah-bah-bah bah-bah-bah blah-blah-blah
dub-dub-dub dub-dub-dub dub-dub-dub dub
shitty-shitty-shitty shitty-shitty-shitty hos!

you see the lines are all about the same length...intelligent peeps won't pay as much attention to this, but the vast majority of voters aren't all that intelligent so ur gonna need to do whatever it takes to get ya point across, namean? So I recommend keeping ur lines about the same length...

also remember when ur rhyming, accenting is cool sometimes, but if every verse u drop is full of words that don't really rhyme without accenting the sounds, then it gets old n it's like his shit don't even rhyme now...thas how other cats will think...some peeps get carried away n start rhyming hand with sack, or sand with slap...some try to rhyme you with would, or proof with hood, etc...it's really gay...still and sit can rhyme, it's juss that when u spit them, u spit still as sti--then let the 'll come in slightly, so the sti- is the main section of what is heard, which rhymes with whatever is next...An example of this would be from Warbux:

i'll give-it-a-try, jump off a buildin-n-dive n stand still-in-the-sky

Give and still or build don't exactly rhyme but instead of pronouncing it still-in-the-sky, it's pronounced like sti-llin-the-sky...you see what i mean? You let the part that fucks up the rhyme (the 'll in still) carry on more to the next word than it should, so the rhyming part of your word is more prominent...It's a hard concept to work with at first, but with some expirimentation, you should do juss fine...

Also, when mixing up multies, remember to count ya syllables...I see so many fuckers do shit like rhyme exit-wounds wit session-wit-you...like puttin extra syllables in some of the rhymes...if it's three syllables, keep it three...if it's four syllables, keep it four...etc...in audio u can switch it up sometimes cuz it can sound pretty ill if u switch at the right time in the right manner, but for text, it doesn't work that well...

Rhyme schemes are the patterns of your rhymes, different from rhyme patterns...Sound confusing? It's not really...

Rhyme pattern: matter-of-time the flat A' sound, two silent syllables, then the sharp I' sound...

Pattern of rhymes or Rhyme Scheme:

rhyme-would-go-here, blah blah rhyme-would-go-here
blah blah blah blah blah blah blah rhyme-would-go-here

rhyme scheme is the foundation of where u mainly put ur rhymes in ur lines...you could do three multies in a row on most lines, or maybe for a two-line bar, it's as the sequence above shows, which is an extremely common and useful scheme...Rhyme schemes and switching them up can add much to ur flow and creativity ratings namean? Just make sure u have some kind of foundation, whether it's one multie at the end of each line, or two in the first line, one in the second, or two in each line, however you chose to do it, have ur foundation and switch up ur rhyme schemes to give a change in pace...Now, a rhyme scheme doesn't have to be the same Rhyme Pattern over and over again...
I can do that pattern exampled above six times in a row, and on the first one make the rhyming words two-syllable multies (death match, legs snap), then make the next bar use a four syllable multie (matter of time, splatter ya spine), etc., etc....Just remember, have the foundation and remember to switch up...

Since this is for text, not audio, i'm not going to get into speech timing, but punch and switch timing I will go into some here...

Time and set up your punches...If I want to get to that adrenaline shock line, i'm prolly going to use the bar before that one to set it up...Do a line that kinda sets the mood then kick in with the big dog lines namean? You can do this as a whole, generally speaking on ur verse...It starts out here, then rises up more n more...Or you can mix it up...Have it scattered throughout ur verse so u have highs and lows everywhere...I personally like doing that, because thas how it goes in a freestyle, n I'm juss typin up sentences offa the top here, so I ain't tryna set it up so each line is in chronological order of impact...But to each his own, and many people do extremely well spitting in ways I don't, I do well spitting my way...Find your own style, and stick with that...

Also, remember when ur switching rhyme schemes (text, not audio), to make sure ur rhyme scheme has some form to it...don't juss throw rhymes everywhere...If you can get a beat in your head, u'll sense where certain multies could go, and places where they shouldn't...Keep that in mind when you're writing your verses, so you don't have ill lines but a horridly choppy flow...

Internal rhyming and multies are all about flow...If you do multies properly, they carry the same flow...Like a musical tap, 1, 2, 1, 2, 1, 1, 2...etc., etc....It's like u figure out what tempo n rhythm u want this multie to have...So all the multies u drop that rhyme with the one u've chosen are spat with the same tempo n rhythm...by rhyme you've chosen, I mean say u decided to use the rhyme grabbin ya mind with slappin ya eyes and slash ya wit knives...You figure out a set tempo and rhythm for the multies, and while the flow n all of the rest will alter, grabbin ya mind, slappin ya eyes and slash ya wit knives will all share the same tempo and rhythm...Of course this tempo n rhythm will switch as the rhyme pattern switches, needless to say...

We also have double-taps, which is where u repeat yourself to make the point...this can be done many ways...

Chammillionaire: I don't like dinosaurs from jurassic park/but the rims sure do look jurassic when i park/

Richard Corey: How'd this bitch backflip after leavin him backless?/

Myself: Snach ya chain cuz ya can't wear a necklace...if ur neckless!/

it's repeating urself using double meaning to make it ill...So you're juss flipping the meaning of your words around to make it sound smoothe and hit hard...

There's also reversals, which is almost like a double tap, but u reverse what ur saying...Example:

i'lll vomit-in-ya-blood n make u cough up blood-in-ya-vomit!/

I took the same words and reversed them to make it hit hard, because u pick up on the connection, and it's another method of playing around with words...you can even make both a multie, like how i used it in the actual battle it was dropped in:

choppin-up-a-thug, till u dead, ruptured-n-bombed-quick
ill vomit-in-ya-blood till i make you cough up blood-in-ya-vomit

thas the way i used it, so u can incorporate multies into your wordplay, and flip words around to make new meanings, and switch up the wordplay in the middle of ur punches...

Make sure when ur rhyming, and texting, don't highlight shit that ain't multies...maybe u do it to fuck with how it flows, to say yo these words connect together in one long ramblin spit, which is cool, but it's gay to mark it like that...forrealz...And that is all.

Written by Poizonus Jk