The word "got" there doesn't land on the beat it's off it. As you see in an example of Edwards' "flow diagram" here, he's simply claiming things that aren't true. It's ironic you mention me as cramming rap into notation, when really it's they who are doing so.
Let me take their deficiencies one by one:Įdwards approach is a typographical one. I own the Edwards/Krims/Miyakawa book (I could send it to you if you need,) and have read Adams. I actually have read every author you mention. It's the perfect book to explain the basics. It'll take years to begin to get comfortable with your own voice in hip hop, but if it's something you love, you'll find it.Įdit: I also recommend reading "How to Rap", you can get a cheap copy there. See how you sound, and work on what you don't like. Grab some of your favorite instrumentals, write to them and record them into Garageband. If you're literally just beginning to start out with rap, don't worry about finding original beats just yet. That'll only happen to its fullest potential if you write something to a certain beat (though, like I said, BPM is the most important to begin with). You're creating rap, literally "rhythm and poetry." It's a performance, much like singing, and you need to be able to follow the instrumental and work with it, build off it, or choose not to (but have it work in the song).
Naughty By Nature's rap style wouldn't go well over a slow beat, and likewise Gucci Mane probably wouldn't do well over a sped-up boom bap production. Some of your more intricate flows might not translate very well. Beats Per Minute is very important to your flow - take a rap song at 78 BPM and try to rap it along to a track that's 90. Does the beat sample the Beach Boys? You'll probably rap about a day on the beach.
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