Even though the focus is on rhyme schemes on all my pages, N9ne’s flow has to be mentioned here – as his cadences dictate how the overall verse’s structure is penned.
A. Line 1 is grouped into metric phrases of 6, 8 and then 7 syllables. Line 2 is grouped by 8 syllables, in each of the 4 phrases – having 32 syllables. The flow is spit in triple-time tempo for 2 bars, and the rhymes follow accordingly.
A2. On Lines 3-4, he ramps up his rhythm gradually, elongating the meter of each line more than the last. It settles into a pocket for a quatrain for Lines 5-8.
A3. For Lines 9-16, there’s a series of “Juggling” going on, both in the rhymes and flow.
The constants that are constantly being blended is what that technique gives the effect of.
Look at the colors, that’s a better example than me highlighting in quotation.
Ex. Lines 9-16
I rock it, flow making my female fans, freakin' faucets
Putting me up against Hop, is thoughtless, not supposed to press partners, stop it
Can’t compete, compare crotches, cockless, takin' Tech is too toxic, toss it!
Never, will the bosses take losses, study cautiousness
Off this shit! Cause some fans are antagonistic
Naggin' bitches, raggin' like a stabbin' happened, when I’m havin' hits
Get vast than sick shit, like I’m Vlad and vicious, bad and twisted
Keep it jabbin' fisted, Trav insisted
B. Going from triple-time to double-time tempo to another in Lines 17-20 – to triple and then double the amount of rhymes expected.
As he did in Line 2, he uses that triple-time for 17 and 18, to make a more advanced cadence.
This approach is done again on the next couplet, but about ¼ of the way on Line 20 switches to go into the following quatrain.
Ex. Lines 17-20
So I frown scarier, when the clown buries a nigga down to the ground, but the crown carrier
Get the hound out the mound, and they’re bound,marry ‘em all together, is how we breaking the sound barrier
I’m three-dimensional, we invincible, you saying I’m over, you never see the principle
My seed is meant to grow rapid, I’m the classical rap shit on acid! (continues to Lines 21-24).
C. For Lines 21-24, he does uses the “Ah & It sounds” in “Classical, rap shit, acid” in 20 for main rhyme groups. For the other 3 bars, in multiples of 2, there’s 2 more “At sound” syllables than before. 23 and 24 almost are holorhymes, EXCEPT one is lengthier than the other and it doesn’t line up.
Ex. (From Line 20 , cont. the group that’s in 21-14)
Bastards! (Hurl bars) Never, will niggas be able to
Gimme the trash it, jack it/jacket! (World star) How in the fuck am I rippin', and reachin' the masses? (“4 "At sounds)
Asses, faggots, too many back splashes (6 "At sounds”)
Then a wack black chat hatches, cause you napped at rap classes (8 “At sounds”, 9 if he’s bending the “CA-use” to fit it)
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