:::::INTRO:::::

Aiight, if you're reading this, I'm hoping you already use good, basic, fundamental multie-rhyming principles, or at least have already mastered the lessons from the first part of this tutorial. If not, Click Here. Now, there's a few different ideas we're going to go over today: Multiple multies, accenting, inner rhyming, multiple rhyme schemes, using multies as the foundation of your flow, and what combinations of multies work versus combinations that can't work.

Accenting

Accenting, simply put, is the art of making words rhyme together that don't rhyme together. This is a VERY prominent talent in Canibus' arsenal. Rhyming four with sure as Eminem does is a good example. Sure is pronounced 'shore'. I don't recommend using a lot of accenting, because then it seems like your rhymes don't really rhyme. I use it in slight doses quite often, but so slight you don't really notice. Here is an example:

Example One:
this nigga bites so much that he's probably droulin-paper/
shootin-when-robbin-ya, it's a human-thermometer when bullets-stain-ya/

In this example here, you see droulin with bullets rhymed. They sound almost like the rhyme, but there's a slight difference as in droulin has more of a "oo" sound to it. With a very slight accenting, you can make these rhyme together, either by pronouncing bullet more like droulin, or vice a versa.

Multiple Multies

Multiple multies is the art of rhyming multies more than once together. This is a very simple concept shown by one example:

Example One:
violent-n-ornery, ha!, pull a nine-in-a-robbery?/
fuck bullets, my punchlines crush spines at twice-the-velocity/

Depending on your specific dialect, ornery could be pronounced to rhyme "war wit me" or "robbery". I personally pronounce it the latter. So there is possible accenting there. Also, punchlines n crush spines rhyme together, which is an inner (next section). Notice how i used main multie (the one that rhymes at the end of the lines) more than just the end of the lines? It's also at the beginning of the first line. Quite simply put, multiple multies are just that. Putting more than one at the end of each line.

Inners/Multiple Rhyme-Schemes

Inners are also known as multiple rhyme-schemez. This would be having more than one multie scheme in a bar (two lines). I'll reiterate with the example above, italicizing the inners:

Example One:
violent-n-ornery, ha!, pull a nine-in-a-robbery?/
fuck bullets, my punch lines crush spinez at twice-the-velocity/

Now the inners don't have to be right next to each other exactly, they just happen to be here because it fits the flow. Try to flow this to a beat, putting a slight emphasis on your rhyming words. You'll notice how it enhances the flow. You can put in three different schemes if you'd like, but i don't recommend doing that often, and i seriously don't recommend going over three unless you can really work it. I've only gone up to four schemes twice I think, because it's too many rhyming words for your brain to pick up on. It confuses your subconscious, so blah at that. I understand some may say, "Why all this worrying about confusing the brain? Just spit!". But the fact is, to make the best sounding verse possible, knowing these things helps. You can be ill without knowing them, and nine times out of ten you won't do these things because your brain will naturally shun at it, realizing how it confuses your audial senses.

Using Multies to Enhance Your Flow

When I rhyme, I base how I flow off my rhyme schemes I am using. This means that with a slight emphasis on your rhyming words when spitting, your multies are made a prominent part of your flow, so people will notice them even if they can't quite point out what sounds so tight about your flow. Learn how to say the punches, disses, powerful statements, and humerous lines in the form of multies. Learning how to speak in multies would be the best way to state this. Figure out the tempo you want, and make the prominent parts of the tempo your multies. Throw in more multies in the middle with multiple multies or inner rhyming, and it enhances your flow even more. That is the whole point of multies: they make your flow more like water than mud. You'd be surprised how much better multies can make your flow. If you decide not use multies, i suggest rhyming your single syllables a lot in your lines, such as "grab the FOUR bust the DOOR lay a WHORE on the FLOOR". It'll help, because every once in a while you'll have a line that is really clever, but doesn't work as a multie. Do that instead. When you practice your multies, you'll begin to notice that instead of just being a suppliment to your rhymes, they become the foundation. Every line I write starts with a rhyme scheme I'd like to use, and I figure out how to say something important with it. Why I suggest this is because once you have mastered your multie style, you'll be able to come up with ill lines based off them, and since your lines are based off your rhyme scheme, that means they're based off your flow. And flow is what it's all about. Why do you think you see so many rappers with shallow lyrics making money? They can hit beats in a nice way.

Call-Back Rhyming

Call-backs are kind of hard to use in text, because most times people won't see them unless you mark them, which marking them is up to u personally. A call-back is a nice way of flipping your rhyme and flow around. Here's an example:

Example One:
stompin-ya-kids, hit and run in a honda/
bomb ya, then flip u off while i'm hoppin-a-fence/

You'll notice that the main rhyme scheme (stompin-ya-kids/hoppin-a-fence) is reversed. The firs trhyme is at the beginning of the bar, and the next at the end. You can throw more multies in there, this is just a basic example to work off of. I recommend when using these to have an inner at the end of the first line, beginning of the second. Notice the honda/bomb ya in this example. It makes it flow better. You'll hear it, trust me, when listening to a line like this, just make sure when spitting to put that just-slight emphasis on your rhyming words. If recording, instead of emphasizing the word, go back over your track and spit the multies with your origginal recordings, but only as a slight mumble, tho not a whisper. It makes your multies stand out and have a slight echo, which sounds really tight....It's used a lot with cats who use multies in rap. Listen to some songs, and you might notice this being used. Call-backs are nice to use sometimes, tho not all the time. A great example of a skilled call-back is from Eminem's "Still Don't Give a Fuck". The opening line:

Example Two:
i'm zonin off of one joint, stoppin-a-limo/
hopped-in-the-window, shoppin-a-demo at gun point/

Notice the three inners in there? But you still here the gun point/one joint rhyme. It sounds as if he had a rhyme using and kicked it back to that rhyme after throwing in more shit, unexpectedly! That's the whole point, it surprises you.

What Works and What Doesn't

There's a few combinations of multies that you'll find do not flow very well. Here's a brief list:

*Using four-syllable multies three times in one line and having other words in between them, or using four-syllable multies more than three times at all, in one line.
*Using multies over five-syllables, and using five-syllable multies more than twice in one line.
*Using three-syllable multies more than four times. Five times can occasionally be used depending on the specific multies, if there are words in between the multies or if it is a straight rhyme, and the rhythm/beat you are using with the line.
*Using more than three different rhyme-schemes in one bar (two lines).
*Accenting heavily, or more than occasionally. This takes away from the legitamateness of your rhymes. Making answer rhyme with chatter, I see that rhyme-scheme used a lot, though using different words. It doesn't work. It sticks out in a bad way.

Written By Poizonous Jk