Jeune Chilly Chill's flow-examples and conclusions

1. Phrase construction (outside view)

-The vinyl scratching effect/trope reappears on R1L36, but it's the only time in JCC's case, after a
lengthy sypnosis which contrasts with what's going to appear. He uses the same technique against
Monk-E.

-There is an obvious preference for 4 line strophes and clear rhyming patterns that suggest a
writing centric approach for JCC. His lines always end with rhymes whereas some of Jam's are
just before the end of the line. We can observe a particuliar liking to coupled rhymes and an
increase in single monorhymes.

-Single monorhymes (AA) usually come with an incisive/responsive statement, for example: Pis
moé chu là pour shooter qu'est ce tu vas fuckin' faire? /Neuf millimètres dans ta bouche pis
j'parle pas de ton fuckin' frère! (R1L51), with the allusion tying 9mm parabellum and Jam's
crewman (a reference to other battles where Snail is more explicitly attacked). At R2L31, he may
have improvised C'te dernier verse là, c'était fuckin phat/Ça te prend clairement mon style pour
pouvoir me battre (figure 9) as a flip for Jam's wordplay parody.

-T'es trop fruité, j'te nique, tu vas perdre ce conflit sûr /Pis avec un pruneau en public, c'est clair
que ce confit dure , R2L41, followed by (Get it? Jam? Confiture?)(Figure 10). There are two
things to notice from that succession. First, this continues the relationship between AA rhymes
and response; here, Xavier Constant breaks character and accepts his labelling as a heavy user of
wordplay, defying those that would criticize him. Second, JCC's structured approach makes his
ad-libs stand out differently.

-JCC likes to make references, and he breaks character when he wants to make an obvious one,
such as -''Dave c'tune terreur! Dave c'tin tueur! Dave y'é magané!'' (R1L48) (Figure 11) or Pi
t'as couru à la fenêtre genre ''Rich! Ne me quitte pas!'' (Figure 12, end of R2)

That's a tool he uses to connect with the crowd, differently from Jam, and he tries to
replicate/parody the feel of the original quote.

-The length of his lines allows him to place internal alternate rhymes : Yo, chu un gars très
sérieux, même si j'ai tendance à joker/T'es un gars talentueux mais t'as tendance à choker
(R2L50)

-R2L37: Jam y'a trop la pêche, pourtant y'é plus qu'un peu laid/Ses soeurs rient si j'le punch,
j'l'éclaterais pas à peu près/Si j'donne un maron à ce fruit, observe son gros oeil de près/Pi check
sa fraise, b'bé, c'est là qu'le bleu est (Figure 13)

Another instance that suggests a writing/poem centered approach. Punctuation coincides a lot
with his line demarcation.
2. Intern construction (accents, rhythmic and internal rhyming patterns)

-Since his writing is heavily charged with assonance, internal rhymes and structure, it allows a bit
more association with a sense of conventional tempo. The second group of the first round,
starting at line 37, shows us an example (see notation). Haine, line, aiment and crème all fall on
the second downbeat in a perception made possible by the accent on tou and the minor 6 raise.

Figure 14-w.video

-Even where there's rests and interaction, it still feels connected in a sense of tempo thanks to
structure and spelling (the Slapshot reference during R1L47)

Figure 15-w.video

-This passage (starting at R2L33) is especially rich in internal rhymes, described through
different articulations in this example. Even though the rhythm written is not entirely accurate
and appropriate, the pronounciation creates an illusion of tempo with a few events
1) on sound on 2 and us on the and of 3 (y in Adams notation)
2) the triple successive accents a-dmi-ra almost identical the next bar
3) the r consonant (+) which merges sometimes with the i vowel (wave), usually around the 3rd
beat
Figure 16-w.video

Notice how the implied pitches return to start the phrase.

-The use of o and ail sounds at R2L48 also creates a rhythmic figure, which JCC leans on in his
delivery (it is even visible), without necessarily making the whole line such (Figure 17)
3. Overview

-Jeune Chilly Chill's technique allows the conception of a tempo through writing, and his career
as a freestyler and as a recording artist does not shy away from that. Listen to his battle against
Freddy Gruesum to hear more examples of his cadence (Figure 18)

-The third round might show the difference between his usual style and when he goes away from
it. For example, when he tries to attack Jam's character and actions on a more accusatory level, he
pulls away from internal rhymes and consonance, still keeping a sense of time like in the first
verses of the first round (Figure 19)

-It would be appropriate to associate JCC's performance in this battle with a derivative flow,
accorting to Mattesich:

Flow with the quality of having derived its metrical structure from that of the instrumental track will be called
derivative. Flow that functions independently of the instrumental track (generating its own structure and internal
rhythmic relationships) I will call generative.(2)

Lamar’s flow employs a rhyme scheme with an irregular internal rhyme and a regular end rhyme. Additionally, the
enjambment of syllables in order to create a point of landing at the end of each line (around beat 4) serves as a point
of coherence between the otherwise largely disjunct flow and instrumental track. More succinctly, the flow and
instrumental track are unified at the level of the hyperbeat, but not at the level of the beat. The rhyme scheme falling
consistently on or around beat four confirms that the flow and the instrumental track are inexorably linked. (7)

-The French language through Quebec dialect may influence an illusion of rhythmic unity despite
a generative flow (contractions often reduce vowels more than consonants, and favor
information-charged words to priorize the narrative structure). When Jam exagerates his
consonants, it highlights how that affects our sense of time (music) without the presence of a beat
or classic syntaxic structure. Just like in Jam's case, it allows JCC to shorten words, especially il
est, il a into y'é, y'a. Accent also plays a part, which helps create more internal and end rhyming
that standard French would allow (fun and gun, dé and les only to name a few).