Count out one — two — three — four so the kick lands on the one and three. And the snares land on the two and four beats. If you can do this, then you are golden. You can break down many rap songs with a four-syllable word. Stressed and unstressed syllables will intertwine with the count of four. Arrange words in different places over your beat to maintain a dope rap flow. Flow in rap is the flow of how your words fall onto the kicks and the snares. The ways you change this up will make up the pattern of your rap flow.
Some beats move fast and some beats move slow. So you will be able to either fit more words in a bar, or less words in a bar. Depending on the speed of the instrumental. All the time. In the background. In general, you want your rhymes to land on the 4 beat of the bar. In order to keep it moving. The rhyme at the end of the bar is like a period to let people know you are moving onto the next line. Over time this has morphed and evolved into a complex set of rhymes mixed in with the rhyme on the 4th beats.
This is where multi-syllable rhymes come into play. Internal rhymes, skipping a rhyme on the 3rd bar and so on. Super simple but all of rap flow is based around the premise that you have to bar sequences in order to get your point across.
The idea is that four bars generally gets across your main idea, and the verses are usually made up of bars. So, you can have two or four sets of four bars to get across four different ideas. Then bam you have a full bar verse. Or do 8 bars of the same rhyme scheme or even 16 bars of the same rhyme scheme. Get creative , this is meant to teach the fundamentals. So that you can venture off and create something new and exciting. Many times doing a full 16 bar verse with the same rhyme scheme can get quite boring.
Many rappers will change up the sound of the pattern because if you keep the same assonance the whole time for 16 bars it can get quite annoying to listen too. Poetic meter and what it can teach you about rap flow. But understanding this will make you a better rapper. So, if you understand rhythm and words, then you can apply it over a beat as well.
This will allow you to change up your rap flow. I wanted to point this out because shaving words off of your written lyrics in order to say the same thing in a rap flow is actually a super essential skill set of any rapper in the history of rap. Click the video below and a few seconds in you can hear not only how the rap flow above is delivered but a soft flow voice that immediately jumps to a screaming rap voice. You can check that 1 simple trick to rap flowing here.
There are entire rap careers based on one rap song with one dope rap flow. A good artist will be able to make song after song and have a higher probability of making a hit. But getting that one popular song all starts with finding your rap flow. Think about that for a minute. One dope rap flow set just right on the right beat that allows people to vibe to it for 3 minutes can make you a famous rapper.
Think about all the one hit wonder rappers who had one song from one flow. If you would like to know more about what is flow in rap and how to find your flow in rap check out my course. It includes over 30 videos on rap flow.
We break down rappers like Eminem, J Cole, Jay Z, Drake and tons of others as I go thru their well know songs and explain their rap flow patterns. I hope this helped you learn what is flow in rap. Get out there and start building your rap flow today! Out of twenty-four accented syllables, eighteen fall on the stronger part of a beat that is, on the beat itself or halfway between beats.
Example 9. These lines are characterized by a 4-against-3 rhythm that appears twice. Its most obvious appearance is in measure 9, where Young places four accented syllables in quadruple proportion to the last three beats of the bar.
Here, the syllables are similarly grouped in three-sixteenth units, but the accented syllable comes at the end of those units, rather than at the beginning. Example 9 illustrates the correspondence between measure 9 and measure 3. In the example, accented syllables are given as noteheads. These syllables are further indicated by larger numbers in the row of sixteenth-note beats underneath the bar. In the 4-against-3 groups, the placement of the accented syllables is shown within the three-sixteenth-note groups of which they are a part rather than in relation to the quarter-note beats.
Although it is not part of the lyrics, I have included the sampled scream on the fourth beat of measure 3 since it forms a counterpart to the first beat of measure 9. This pattern also weakens two syllables that do fall on the beats.
These assessments of rap were most likely based on a lack of understanding of the techniques and goals of rap music, something recent scholarship has done much to rectify. This type of investigation is significant because the textual delivery in rap and its relationship to the musical accompaniment are quite different than they are in Western art music.
Leaving aside text-painting, the text in Western art music finds musical support primarily in its own melody and in the harmonic structures of the accompaniment. In rapping, on the other hand, that musical support is found primarily in the rhythmic, metrical, and syntactic arrangement of syllables—that is, in the components of what rap musicians call flow. Third St. Bloomington, IN kyadams indiana. Adams, Kyle. Adler, Jerry et al. Alapatt, Eothen. Crossley, Scott.
Untitled Interview with Blackalicious. Everett, Walter. The Foundations of Rock. Oxford: Oxford University Press. Frere-Jones, Sasha. Keyes, Cheryl. Rap Music and Street Consciousness. Kinzie, Mary. Chicago: University of Chicago Press. Krims, Adam. Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press. Lacasse, Serge. Lipsitz, George. Dangerous Crossroads. London: Verso. Nuzum, Eric. Parental Advisory: Music Censorship in America. New York City: Harper Collins.
Shusterman, Richard. Spicer, Mark. Walser, Robert. My thanks to Nancy Nguyen-Adams, Peter Ermey, Stan Fink, and the anonymous readers for their insightful comments on previous drafts of this article. Return to text. The chart shows the rhythmic placement of syllables in the lyrics, following the practice established by Adams Each column in the chart represents a sixteenth-note subdivision of the beat; these columns are labeled with the number of the beat or the letter x, y, or z.
Each row therefore represents a full bar of music, with syllables placed in the box corresponding to their rhythmic location. Each line of lyrics is numbered on the left-hand side of the chart; these are also the measure numbers. My thanks to Robert Hatten for his help with poetic terminology, which I took from his personal notes and from Kinzie The techniques of flow described here are based on my own observations. Ideally, one would talk to rappers themselves to understand how they conceived of flow, but it has proven impossible to contact any of the artists discussed in this article.
See Adams Lacasse also argues for the consideration of elements unrelated to the meaning of the text in the analysis of popular song. The drumbeat was presumably created using a drum machine. This technique is also used in Example 8a, and is quite common in rap. These types of techniques are important, however, and deserve future exploration. Unlike alternative rockers, alternative rap groups typically do not position themselves in opposition to mainstream rap although some artists, such as Madvillain, Talib Kweli, and Jurassic 5, do critique its values.
Rather, they tend to view themselves as torch-bearers for traditional rap practices, such as the use of a DJ and of sampled music.
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