No.......actually Wiki rhyme scheme and ull see the list for yourself
Its crazy

Here goes the list
Chant royal: Five stanzas of "ababccddedE" followed by either "ddedE" or "ccddedE". (The capital letters indicate a line repeated verbatim.)
Cinquain: "A,B,A,B,B".
Clerihew: "A,A,B,B,".
Couplet: "A,A", but usually occurs as "A,A, B,B C,C D,D ...".
Enclosed rhyme (or enclosing rhyme): "abba".
Limerick: "aabba".
Monorhyme: "A,A,A,A,A...", an identical rhyme on every line, common in Latin and Arabic
Ottava rima: "A,B,A,B,A,B,C,C".
Rhyme royal: "ababbcc".
Scottish stanza: "AAABAB", as used by Robert Burns in works such as To a Mouse
Rondelet: "AbAabbA".
Rubaiyat: "aaba".
Sonnet
Petrarchan sonnet: "abba abba cde cde" or "abba abba cdc dcd".
Shakespearean sonnet: "abab cdcd efef gg".
Simple 4-line: "abcb"
Spenserian sonnet: "abab bcbc cdcd ee".
Onegin stanzas: "aBaBccDDeFFeGG" with the lowercase letters representing feminine rhymes and the uppercase representing masculine rhymes, written in iambic tetrameter.
Spenserian stanza: "ababbcbcc".
Tanaga: traditional Tagalog tanaga is aaaa
Terza rima: "aba bcb cdc ...", ending on "yzy z", "yzy zz", or "yzy zyz".
Triplet: "aaa", often repeating like the couplet.
Villanelle: A1bA2 abA1 abA2 abA1 abA2 abA1A2, where A1 and A2 are lines repeated exactly which rhyme with the a lines.
Sestina: abcdef faebdc cfdabe ecbfad deacfb bdfeca , the seventh stanza is a tercet where line 1 has a in it but ends with d, line 2 has b in it but ends with e, line 3 has c in it but ends with f

what? what's that?

Added (28/May/09, 1:28 Am)
---------------------------------------------
Ie.

Im the blood that runs into the body - A
Im also the bullet that explodes from the shotty - A
Niggas bodies can burn in hell - B
Quit bitching like the hoes from Waiting to Exhale - B

like that
If the letters r the same that letter has to represent the same rhyming word

those are poetic rhyme schemes. i'm glad you are studying this, but many, if not most emcees create their own exciting rhyme schemes. if you are interested in studying emceeing from a poetic standpoint you should learn about meter as well. it's a little hard to understand at first. i think that it is important to know a few things about emceeing that most emcees neglect. here are a few of the most important:

-as an emcee, you need to be aware that your job is not to merely lay your vocals over an instrumental, you are the extra instrument that makes the track that much more special. that is the difference between a cat like Nas, Rakim or Percee P and a cat like Chino XL or Immortal Technique and what is holding the latter two from being as legendary as the former. these cats actually study instruments from the horn section of Jazz bands. Rakim was actually a saxophonist before becoming an emcee and uses his sax technique for his flow. that is why he can flow immaculately over tracks like "Know The Ledge," which, to me, even if it isn't my favorite EB&R track, is by far the most impressive, while anyone else who tries (including Pensmoke. no diss to you dude, but Rakim is just the fucking KING!) doesn't quite do it as well because that is one of the most difficult tracks to sound good over and if you aren't ready your ass will get exposed as an amateur for even trying to rhyme over such a track.

-two words: breath control. this is vital to any serious emcee. it can make or break your career. if you do not learn strategic breathing on tracks you WILL run out of breath and it WILL sound bad. i've seen many cats with breath control problems (including myself for a while) actually physically write in their breathing points on paper. this becomes less necessary as you gain skill because an experienced emcee will memorize their breath points by instinct, especially if he/she is doing shows because in order to do shows you need to memorize the verse(s) inside out anyways. if it isn't memorized you will sound like an idiot.

-learn your emcee's character. i've personally been developing this for a little while now. this is something i've been learning in the last few months. this doesn't mean you have to build a story surrounding your emcee even though some of the greatest (for example MF DOOM and Eminem/Slim Shady) have that, but you need to understand what your emcee brings to the table and write/rap accordingly. you don't want to have a conscious character but a delivery that fits a cat that jokes a lot unless you really are able to ingeniously tie the two together and make them work, and at that point you need a record deal because that is what only the greatest are able to do. this is what sets you apart from the crowd.

as for writing techniques, truthfully, the more i get into poetry and emcee i have found that both really just require you to be 1) creative and 2) natural. i'm speaking specifically for rhyme scheme but these are also very universal concepts. for example, here's Unite C and my "They Called Him 'Seek'" track's first 8 bars:

they called him seek for he was seeking the truth/
the deacon of couth seeking to speak in the booth/
preachers misleading the youth, he was the beacon of lies/
the warning sign to guide the world's outcries/
plans were devised and plots would arise/
his plans were exercised 'til the people realized/
the lies placed in front of their eyes/
uprise against the powerful controlling minds to terrorize.

now you all know i know better than most people here about rhyme scheme and poetic technique, but check out as i break this down how even though it flows well and is fitting, it isn't organized into any specific order in any way:

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0

*letter outside parentheses denotes main rhyme (the end of the line)
*[letter within brackets denotes internal rhyme] (rhymes within a line)

[a]b
[a][a]b
[a][a]c
[c]c
[d][c]c
[d][c]c
[c]c
[c]c

^^^ if you can truly say that is organized into a specific rhyme scheme i would be intrigued as to how.

now for the meter:

*the following symbol ` denotes a stressed syllable (this is actual poetic notation)
*for lack of the correct symbol in my PC's limited memory bank - will denote unstressed syllables

- ` - ` - - - `- - `
- `- - ` `- - ` - - `
`- ``- - ` - - - `- - `
- `- ` - ` - ` `-
` - `- - ` - `-
- ` - `-- - - `- `--
- ` - - - - - `
-` `- - `-- -`- ` - `--

once again, very chaotic. there is no apparent order to this.

now for a syllable count:

11
12
14
10
9
13
8
16

again, no particular order.

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0

aabccddeff.....

the reason is emcees are finding rhyming at the end of every line to be less necessary, just as in poetry. here's an example of a more experimental rhyme scheme i used that actually was used on purpose. some of you may recognize this. it is my poem Egotism:

They say suicide is selfish
But aren't we all a bit self centered;
Every supposed
Selfless act
Based on pride?

Could it not be said
That every action
Is a reaction of egotism?
We are all truly selfish inside.

I've had thoughts of bringing
My life to an end--
to begin my eternal sleep--
But would I truly benefit
From my demise?

Through all my hardships
I still yearn
For my life to be eternal.
I guess I'm truly selfish inside.

this poem is unique in that i actually rapped it to a beat and it's rhyme scheme makes it very unique in nature. in notation that is better suited for a track it looks like this:

They say suicide is selfish/
But aren't we all a bit self centered;/
Every supposed selfless act based on pride?/
Could it not be said/
That every action is a reaction of egotism?/
We are all truly selfish inside./
I've had thoughts of bringing my life to an end--/
to begin my eternal sleep--/
But would I truly benefit from my demise?/
Through all my hardships I still yearn/
For my life to be eternal./
I guess I'm truly selfish inside./

therefore, the rhyme scheme is:

abcdecfgchic

this rhyme scheme is quite complex. note that there is only a rhyme on every third line. everything else is just a line that ends in a completely unrhymed word. this is an example of people not rhyming at the end of every line. an example of someone who uses similar techniques quite often is Aesop Rock. this is planned out rhyme scheme ingenuity at it's finest.

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0

[a]a
[a]a
[a]b
[b]b
[b]c
[c]c
[c]d
[d]d
[d]e
[e]e
[e]f
[f]f
[f]g
[g]g
[g]h
[h]h

notice, that is sixteen lines exactly. most people know this, but in case you don't, sixteen lines is the most commonly used amount in hip hop. in blues it is 12. notice i say lines and not bars because i did not write this in musical notation. bars are the musical equivalent of a line and are subsequently what a line is written over and in time with. here is how this would generally be written musically (though it can be tweaked by placing rhymes on different counts. this is the simplest and most structured version of this rhyme technique):

*_ denotes a note where there is no rhyme
*\ denotes end of count/beginning of new count
*note: there are four counts to almost every hip hop beat and most other forms of music (though other forms of music experiment more with such dynamics than hip hop does)

__\_a\__\_a\
__\_a\__\_a\
__\_a\__\_b\
__\_b\__\_b\
__\_b\__\_c\
__\_c\__\_c\
__\_c\__\_d\
__\_d\__\_d\
__\_d\__\_e\
__\_e \__\_e\
__\_e\__\_f\
__\_f\__\_f\
__\_f\__\_g\
__\_g\__\_g\
__\_g\__\_h\
__\_h\__\_h\

the issue with such rhyme schemes, however, is they get repetitive and boring. this is why it is always good to let it naturally flow and being creative is a must. imagine if a trumpet player -- Miles Davis for example -- kept playing the same phrase of music over and over. that phrase may be dope for the first ten bars, but after that you will want to hear variation or you will probably change the track because you will have this feeling of "i've already heard this. i want to hear something else." in fact, this is the grievance many jazz and rock fans have with hip hop music. i have found this argument to be prevalent through comments posted on my "So You Hate Hip Hop?" video series. this advice has become more and more prevalent to underground artists who are beginning to experiment more with changing rhythms.

all of these ideas factor in heavily in how good of an emcee you are. so remember this if nothing else: there is a time to structure your rhymes to a specific scheme and meter and a strategic way of doing so, but sometimes, if not most of the time, it is much better and more useful to let it flow naturally, plus, when you are in the studio people will expect you to simply crank out some rhymes and it comes much easier if you 1) have the ability to freestyle at least somewhat and 2) can write naturally and creatively.

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0

But yeah I understand wat ur saying by being natural and flowing naturally
Id say the Hip Hop flow Im impressed with the most would have to be Eminem's because he can flow over ANY beat with ease and make it sound good. Rakim also does it good too.
But the only thing Im really having trouble with is breath control, enunciation, and my writing style
I mean I can write really good and easily but when I try to read it aloud it sounds funny and almost forced
It doesnt flow basically
How can I make my rhymes on paper?

thanks for bringing that up. that's a major factor that is also neglected in hip hop. i've noticed the cats with the best flows are the most organized on paper. it really comes down to knowing how to organize a bar/line on paper correctly because a lot of dudes write shit but it is out of sequence and they seem to have trouble reading what they wrote. some ways to fix this are:

-making sure the correct rhyme is at the end of each line.

-making sure there aren't too many or too little syllables in a line.

-making sure the rhyme scheme doesn't fuck up the flow.

below are some examples:

i've seen cats write in some bizarre ways. for example....

i'm fucking up the business, gonna get in this bear witness the wrath of my math, it's pure sickness. i stick this lyrical dagger through the hearts of men. arts begin to flourish and then i diminish them. emcees i displenish them and finish them like fatalities. my futility is greater cause for civility. i'm fucking with you animals like bestiality. clinically completely pleading insanity. emcees cannot manage to test my skill. yes, total vanity.

i have actually seen shit like this. it will be much easier to organize this like such:

i'm fucking up the business, gonna get in this/
bear witness the wrath of my math, it's pure sickness/
i stick this lyrical dagger through the hearts of men/
arts begin to flourish and then i diminish them/
emcees i displenish them and finish them like fatalities/
my futility is greater cause for civility/
i'm fucking with you animals like bestiality/
clinically completely pleading insanity/
emcees cannot manage to test my skill. yes, total vanity/
a rouge bastard and horror master in Amity.

that is better, but notice the second to last line. try rapping it over a beat. it's way too long. let's shorten it:

emcees cannot manage. do damage with total vanity/

now there are a few more changes that can be made:

emcees i displenish and finish them like fatalities/
my futility is greater than your style's totality/

note that we aren't necessarily making the line shorter in length, but rather less syllables, plus we added an extra rhyme in there to give us some leeway.

so now we have:

i'm fucking up the business, gonna get in this/
bear witness the wrath of my math, it's pure sickness/
i stick this lyrical dagger through the hearts of men/
arts begin to flourish and then i diminish them/
emcees i displenish and finish them like fatalities/
my futility is greater than your style's totality/
i'm fucking with you animals like bestiality/
clinically completely pleading insanity/
emcees cannot manage. do damage with total vanity/
a rouge bastard and horror master in Amity.

now, if you are having trouble with breath control, there are a few things you can do, but i will show you what i used to do:

* = small breath
____ = full breath

i'm fucking up the business, gonna get in this/
bear witness the wrath of my math, it's pure sickness/
i stick this lyrical dagger through the hearts of men/
arts begin to flourish and then i * diminish them/
_______________________________________
emcees i displenish and finish them like fatalities/
my futility is greater than your style's totality/
____________________________________
i'm fucking with you animals like bestiality/
clinically completely pleading insanity/
_________________________________
emcees cannot manage. do damage with total vanity/
a rouge bastard and horror master in Amity.

so basically now you have a layout of everything that will happen in your verse and the flow comes natural. you will have trouble getting the flow down at first but if you practice your verse until you memorize it it will come out so natural you will be shocked. it doesn't take long either. a matter of minutes for intensive purposes.

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0

yeah, once you get used to it that shit will be quick. practice at home on a bunch of different beats, try different flows, and when you find the one you want, just fucking spit.

my new theme song



erikboyd60@hotmail.com

"True poetry can communicate before it is understood"

-T.S. Eliot

battle record:

7-0-0