How To Rap For Beginner's Masterclass

1. How To Freestyle Rap Intro: All right. Hello, everybody. We're gonna learn how to freestyle rap in three steps, and we're going to go do a quick intro. This is Edison, as always with rye makers. So Step one is going to be count beats with stressed syllables. That's the first step you need to learn it. It's one of the most overlooked steps in everything that we do. To be able to freestyle rap on beat, you need to be able to count beats with stressed syllables, and you need to know where rhymes should go in order to keep the structure or learn how to break the structure on purpose and then come back to it afterwards just so you can keep with that skeleton of the beat. Because if you veer off too far, that turns into something that's not hip hop right turns into jazz or something else, and we want to make sure that we have that structure down, and I'm gonna go into that super deeply step to the no rhyme method. This is something that really helps you get over your fear and anxiety of having a filter so that you don't actually say what you want to say or just say what comes to mind. Um, you need to be able to speak your thoughts almost completely unfiltered, and you need to be able to let go. And that's huge. And in order to help you do this, the no rhyme method is perfect. Just say whatever comes up all right. Step number three is the rhyme helper method. Find an instrumental rap beat you like. And now that you've gotten rid of the completely stupid filter that we bought ourselves down with all the time, you can start to think about rhyming and your freestyle raps. And this is how I learned This is how I've taught so many other people as well friends and other people that have meant toward and coached. But the step number three is going to rhyme zone dot com or any rhyme dictionary, but a highly recommend rhyme zone dot com just because it's so good for near and slant rhymes. And then we're going to type in a random word, for example, like awesome. And then you're gonna put on a beat you like, and you're gonna say some gibberish in between like actual gibberish, and then fill in all the space with rhymes in between. And it's just helps you gain the structure that you need in order to freestyle rap and still maintain a rhythm to stay on beat. But let's get into it. Step number one coming up soon. Edison Rhyme Makers. Let's go! 2. How To Freestyle Rap Step 1: Okay, let's get into the freestyle rap. Three steps. I am super excited to be getting into this because I think it's going to super help a lot of people, and I really hope it does. Um, so let's just get right into it. We don't need to talk about BS all day. Um, let's figure this figure this out together. Eso Step one is where we're gonna be focusing on right now. So that's going to be how to count beats with stressed syllables. The first thing you need to know is how to count beats. Okay, when I'm talking about beats, I'm not talking about the actual instrumental. I'm talking about a measure of time. That's all a beat is. So when somebody says, Oh, it is, take a beat. Um, just take a minute, you know, take a period of time and in hip hop beats are the foundation of how time is manipulated in these in these instrumentals. So all you need to know is, and I'm gonna show you a diagram in the second that there are four beats consecutively repeating over and over again in hip hop. Kind of like dance. Kind of like a lot of things. It's all mathematical. So 1234 Those air four beats, right? Those four beats make up a bar. So when you hear a bar in hip hop, all that is is a moment of time, and it's a moment of four beats now they could be 1234 And that's, you know, you know, 110 beats per minute. Or it could be one to 34 Right. And that's going to be a slower beats per minute. But both of those Air one bar and it's the amount of time that it takes for you to count out. 1234 That is the bar there. Always evenly spaced is Well, okay, the amount of time between the one and the two when the three in the four. Okay, Now I'm gonna show you this diagram. I'm gonna move my face somewhere. Not so obtrusive, and this is going to give you an indication of how to use it. Don't be overwhelmed by this. Okay, um but I want to show you a couple things, so watch the cursor. Um, the beats right here. These four squares represent one B okay, and what producers do is they'll actually put drumbeats and drum sounds on top of those beats in order to make sure that it's completely structured. Okay, now the hip hop sound has two unique drums that you almost always here in every hip hop song. And that's gonna be a kick and a snare and a kick is up. No, that's the kick style sound. And then the snare is more of, Ah, clap like a like That's the boom bap boom, boom bet. And that's the difference. That's where boom BAP actually comes from is kick snare kick kicks there, Um, and how that actually works is you almost always hear a kick up on a one and the three beat , and you almost always hear a snare on the two and the four beat. So that's kick, snare, kick, snare, kick, snare, kick, snare. And that's the structure of hip hop. That's how it works. You do that. 12341234 Now there's going to be different variations of that, but that's the skeleton. That's all you need to know. So it's That's a said. I mean, I'm not the greatest be boxer, but I think you get the point. And now they're gonna lace in different types of drumbeats in between that and use pauses and things like that. But that is what hip hop is. And one line is essentially one bar. And where you put your Rives, you're always gonna place your rhymes on the four beat at the end of the line. And it's always gonna land on a snare. Not always, but it's mostly gonna land on a snare. So if you kind of come along with me here, you say 1234 Right, let's put on a beat just to, like, get an idea of what that actually sounds like so that you're not wondering what the fuck is going on, What I'm talking about. Uh, so here's a beat. 3412341234 Okay, it's not in there yet, but you'll get it. 12341234123412 The two to the three to the 4123 and four animals here the difference in the kicks in the stairs. This isn't the best example because it's almost the same. But I think that that's a good idea of kind of how it works. All right. And then So maybe we'll put on different beaches. So you get the hang of it and hear it again. Sick. 1231234123 And now what producers do is applet different sounds in between, right? Different styles of snares, different styles of kicks. But all you need t distinguish is where the one in the two in the three and the four go. If you can count to four, then you got it on. Look, um, and a great way to practice is to put on beats and go one to the two to the three to the 41 to 34 I don't know why I did this, Um, but it's I think that's a really good idea to do. And now what we need to understand is, how do you stressed syllables on top of that? In order to maintain the flow with our words? Now, words need to go on top of the beat and the rhythm in order to make rhythm. That's what it is, right, words over beats. Okay, and the way that we figure out the way our words work over top of these beats is with stressed syllables. Now stressed syllables are, for example, if I was to say the word rapper Okay, there is one stressed syllable in the word rapper, right? You wouldn't say Rep. Per you would say Rapper The app part is the stressed syllable. There's two syllables in Rapper, and the first portion of the syllable is the stress part and an English language. The way that we speak there is always going to be stressed and unstrapped syllables. That's how our language works, and that's how rhythm works. So if I was to say one to the two to the three to the four K one is a stressed syllable to is a stressed syllable. One to the to the to the is the in stressed syllables. So you got one. Did a dude to the dough dough, The dough. Doug did a dodo, the dungeon adult, and that's what creates rhythm. That's how it works. Um, and when you use your words, you have toe pick your words carefully so that they land with the stressed syllables on top of those beats. All right, I know it sounds a little complicated, but please don't get overwhelmed. Just stay with me. 3. How To Freestyle Rap Step 2: Okay. What's up? What's up? So step number two is going to be the no rhyme method. So now that you know how to count beats and bars in your head to the beat, we're going to switch over to the no rhyme method where you're not gonna rhyme it all. And this is gonna be a great exercise for you to just practice getting those unfiltered thoughts out. Super important. To be able to do this and the exercise and I'm gonna leave you with at the end of this, I's gonna be just a one minute drill that you guys were gonna practice. And it's super simple. Um, and I want you guys to do this just yourselves. If you guys are around, nobody's around to hear the the gibberish that comes out. Um, just give it a shot. OK, so the goal is to go for one minute, talking about whatever you want, whatever comes to mind. And I have a couple of tips for what happens if you're starting to struggle, okay? It's gonna sound like shit. It's not going to sound very rhythmic. It's going to sound really off beat. Um, you don't even have to do it to a beat. I suggest you do just to practice. Um, but give it a shot. And just if you can't think of anything to say, that's the biggest thing that I hear is I can't think of anything to say Say that you can't think of anything to say Be like, Yo, I can't think of anything to say You know, this is Edison. Today all the gentlemen will play. Can't stop when attendance in his age. Uh, like, just say whatever is coming to your mind at the time, But you don't need to rhyme. I just run because it's a force of habit. After a while, it does become habit. And it just as you practice you just progress and just naturally do it because that's what keeps the structure going along. Um, so the goal is to go one full minute without stopping time yourself, set a timer and then and then do it and then just say what you want, maybe even say a stories. Talk about what you did today. Talk about things that are in and around. You talk about the pictures behind me. I don't care. Whatever you want. to Dio. But what you're gonna do is put on a beat, right? And then you're just gonna literally talk it out. Just talk it out. Say what? You're going to dio force yourself to keep going for one minute and then we'll move on to the next step. That's what it's gonna be. It's gonna sound stupid and silly like I was walking to the store. 4. How To Freestyle Rap Step 3: Okay, so now that we have that established, we're gonna move into step number three. Hopefully, it wasn't too bad for you when you did. Step number two. But step number three is gonna help you with tons. This is the rhyme helper method. And this is what's going to come and help you to actually kick some freestyles and get to rhythm and flow in, which is really nice. So the next step is going to be I'm an adverb Everybody go to rhyme zone dot com This is my favorite one. Just go here. Eso www dot rhyme zone dot com This is what it's gonna look like. Okay, this is how rhyme zone looks on. And then I'm gonna get you to go into the word I'm gonna get you to type in any word, Okay? One syllable, two syllable. Doesn't matter. Um, but just know where the stresses. So let's type in wrapper as as an option. Okay, So when you type in rapper, you'll see that you put it in here. I'm gonna get you to go to, uh, the little filter option here, and you're going to go to find in near rhymes as my cat knocks it over behind me, But you're gonna find near rhymes and then you're gonna go to search. We're just does it automatically. And what is going to do is it's gonna come up with a bunch of kind of off rives like close rhymes. And then what you're gonna do is gonna throw on a beat. Any beat of your choice. Um, you know, I'm gonna put on something that's copyright free so we don't get in trouble for commercial licenses and stuff. And I'll show you where you can find those beats as well soon in the in the other sections going forward. But this is one of my favorite methods to use. So you're gonna pick up. And you what you're gonna do is you're going Teoh, use this list. That's right here. Going to use this list and you're going Teoh, find 1231231234123412 The two to the actor, Once of the two to the three to the after wrapping to be beats in the end. Everybody ready? Look, call me bag. Just a better looking for the chapter. Maybe I'm a clapper. Maybe I'm a cracker. Maybe I my chill asked Jabber. And maybe I'm the Mad Hatter. Call me the Green Bay Packers Toronto Raptors Children with the slackers living in the ramp shirt. Yo, I got a smattering swagger and people try to see me What they brains gets bladder. Oh, your smoking on that Shannon looking for the baggers, Maybe his lacquer. And maybe I'll be running faster with factor. And I flatter with the gag order in the gadgets and a grabber. You'll the hacker lifetime hacker are write rhymes. Batter, You are right crimes like a master. Call me on the planter. Maybe you could see me in the ill GPS on the Tracker. Yeah, the deal. The self reported. People want to act like they were mobile, foreign. Maybe I'm reforming and performing and arrives. Can't stop looking how to organize my time and just do that. Put in a different word. Keep going from there. It's just really don't wait a practice on Feel where the rides need to go. Remember, it's 13123123! Dr One, 23 I want to make sure that the stressed syllable part of the word So rapper is the first part of the Civil Rights Act. Eg and neck bag. Laughter can you can. All right, So I think you get the point. I think that will help you immensely with freestyle ramping. So hopefully you get that between now you can throw a little bit of gibberish in between. The other actors depict underfunded Potdevin, defunding banker by the by the rats and dented geodetic caps he called the best depend on the man Baby, it's the Packers. But my mama maybe I'll become in time in the morning. Yeah, I want to see me and get into great bag trying to keep all smoking on that shadow brain scans and then try to work with your own right, whatever you like. Whatever kind of like I think it's a really sick way to do it. Let me know if this helps you. Hopefully you are freestyle rapping right now. I want to see videos and stuff like that. So please let me know. Maybe even take like a before and after of, you know, freestyle and before that, a freestyle and after. And I guarantee you if you practice just a little bit. Every single day you will 100% be better at freestyle rapping or be able to freestyle rap when you couldn't before. All right. It's one of the best foundations of hip hop, and it's one of my favorite things to do to kill stress and just chill. I love wrapping. I've loved it since I was 16 years old. Ah, this is Edison at rye. Makers call me the word nerd. All right, peace out, everybody. 5. RapScript Exercise + Freestyle Sesh: Yo, What up, Edison at Rye makers just here to show you guys that I can actually freestyle, but also to show you guys a really cool exercise from a website called Rap Script. What it does, it just throws up a bunch of random words in a certain period of time. So if you look at the bottom of the app, I will show the word speed so you can change it from 2 to 12 seconds and then adjusted from there, really helps with freestyling and just not having to struggle to come up with words on. It really helps you learn as you go. Yo, things is a career in the making. Look a European this. I'm not believing this. I got enquiries. Y'all can't even fire me. Maybe it's a pasture, maybe another rapper that are fresher. I got analogy looking for the comedy Intricate ibs, implosive looking. How I listen, it's explosive. Call me that passenger seat when not be wrapping to beat, say you're laughing when I sit back in the street like I got strategies and all examples of my freeze, I'm looking to appeal. Eight. Another meal awareness is something that you can feel so I spill away emotion like oilfields Yes, I'm staying in real I got quality believing that you can't even follow me the edge in And looking for another lesson to Somalo medio I got some silver and you can't ride with silver But maybe I could try to put an instagram filter. Condor Yes. You want mawr with that ball? Go. Yes, I'm on flow Call me John Doe with combo. Why I got that long nose kind of looks like a lawn gnome I can't stop drinking. And, um, on the microphone how might be white is bone I'm looking for the demolition, but I can't help it cause your pen was missing You got a right to Romney devices in the television Yes s an extra Rob can't stop selling fiction Call the Mel Gibson with the Passion of the Christ. I'm like a locomotive Oh, I noted a yo on chroma zonin. It's like a mobile home kid. You just want Saiyan. Nora can't stop crime And I ignore you calling this embankment Y'all gotta build around a flooding. I'm looking just the waterboard your family for loving I'm budget not even budge in what? I'm here And I got a hearing aid and I can't stop this lyric. Lemon Ada, I got his light in. Men call me the Buddhist monk. You are just got a stupid tongue When I'm using all this music, son, I got that cussedness pentathlon can't stop a budget and I'm loving this. I ran on the same beef. You got concrete under feats You just walk around pyramids and looking for them lyricists It's just uncertainty. You can learn from me a first for me with burnt you win the third degree walk around your neighborhood and make it good. I'm just a plantation laying, escaping stand demand escaping gold medalist called on the Michael Phelps I got the right and I believe in your life itself. Like I'm just aware. Well, maybe, um, in the era may be looking for people cause they're acting like the scarier failure. Maybe I'd be looking genitalia Iggy Azalea with biggie and gnaws like Nicki Minaj flipping them off. I got that vehicle on the outskirts. It's like a Honda Civic. Yo, I wander and it never stopped the limits when I got it like I'm not a Grinch, kid I got that forefront. You got that storefront I got like your one plume. AJ, I can't stop doing this because I be Roman for, like, two gods. Edison Prime Acres piece. 6. What are beats, bars and BPM's in rap?: Okay, So what is a beat? Exactly? So when I say beats, I don't mean the instrumental you wrap on. Ah, beats are repeating moments of time that are used to create structure in music so they don't need to be associated with the sound. And everybody that walks this planet has an internal beat that's on. Repeat over and over again. And that's your heartbeat. So when you think of a beat, it's a moment of time. Ah, and you can think of beats as the heartbeat or the pulse of the music in rap drums will land on these beats in different patterns to guide the song. Okay, so just a your heart rate is determined by how many times your heart beats per minute. Ah, songs. Tempo is determined by how Maney beats There are per minute, right? So most of the rap you listen to isn't something called 44 time, and this is kind of what it looks like in the structure of a bar and beets. Okay, so all that means is that there are four beats in a bar. K. A bar is a measure of time. That's all it is. It could be, you know, really fast. Beats like 12341234 That's two bars right there. Or it could be one to three four. And that's a bar Now. How fast those beats go by and moments of time is how fast the beats per minute is right. So if it's 60 beats per minute, it would be like one to three, 41 two, and then so on. And if it was, 120 beats per minute will be 1234123412 the tube to the three to the four. And those are the beats now that it's not, doesn't like. So whenever somebody makes an instrumental or a track, that is what they're using on. That's where they put their drumbeats in. So you see this diagram that I have here if you think of it like every bar is that rectangular shape and then every beat is the square. That's exactly what rap is all the time. You can break down every single hip hop beat pretty much by this, like 95% of them, with the exception of some trap rap out there right now. All right, So what is a bar and wrap? So a bar is a representation of a period of time in the song. So every bar is four beats and wrap on those beats are they could be accounted by number just to kind of keep time. So, um, every four beats in rap. 1234 That is one bar, and you can see it again. I kind of visualized and added this in there as well, just to show you where the drums would go. Um And then it repeats over and over again and then starts a new bar. This continues throughout the whole entire song. So the whole song is made up of a certain amount of bars, which is just a measure of time, which is also made up of a certain amount of beats. A swell. So in hip hop beat makers and producers will land drums on those beats in the song in those measures of time, in order to create the structure of the instrumental, which is huge for us to know because we need to be ableto identify and find those beats in order to wrap in rhythm and stay on flow and stay in the pocket. That's why certain people sound better and more on flow than off low on. And that's why some people sound shit because they're not recognizing the kicks, the snares and where the beats and how the bars go together. And that's one of the biggest mistakes I see in hip hop on making rap music. So I know I'm just a word nerd, but honestly, this will help everybody and anybody that wants to learn rap. Um, so that's it for that one. Let's get into, um, identifying and picking apart those drums in the next one. 7. How to count bars & How to find the beat: All right, So now we're gonna identify how to count bars and how to find the beat. So rap beats are made of drums, the two main drum sounds to know our kicks and snares. And in hip hop drum sounds fall on each beat. Um, so kicks are softer, quieter and lower pitch drums that land on the one and three beats in hip hop almost always and kick sound like And snares are sharper, louder and higher pitched. Think of like a clap sound style of drum. They usually fall on the two and the four B, and they're more of Ah, so you got the and I'm not the best beat boxer, but I think you get the point. Um, so when you're looking and dissecting hip hop, each bar will always have those four beats and almost always contain the kick snare, kick, snare combination. Now, obviously, you can manipulate that as you go, but that's the fundamentals of what the hip hop sound is. And if you change that too much, then it's actually not going to be hip hop anymore. It's gonna be, you know, trap rap or jazz or something else like that That's why this is hip hop. And that's the universal sound throat hip hop to make that sound. And that's the basic structure of almost all rat music. Obviously, there's variations, but when you count out 1234 it would be kick, snare, kick, snare and we're going to go over some beats toe get an idea of what it sounds like. So I'm gonna play, Ah, just some random beats and we're gonna pick up on the kicks and snares and you can kind of follow along and hear how it changes based on how fast the beats per minute are. All right. Kick, kick, sand there. Stare, kick kicking. Stare. So 12341234 Kick their three stare 123 And it's the same rhythm throughout. So if we were to pick out a different beat smooth. 13 one. Staying 313 I'm gonna play this one. You can try to identify it as it's coming on. It's gonna let this one play. Okay, Stare. Even if the snare is missing, it doesn't really matter because we still put the kicking. And even if the kick is missing get the snare where it fits in, huh? I actually hate this beak. Hopefully did OK on that one. So even just the timing in itself. 12341234 This one is more of a trap e beat. So you can kind of hear, Hear how the changes is happening. So you hear this snare on the three beats. 12341234 So this be is more of a trap e style. And they put on snare on the third beat, which is interesting just to see because 95% of hip hop is actually 44 time signature. So it's gonna be kick, stare, kick, snare, kick to the snare to the kick to the snare one to the tool to the three. To the four carpets are conceded to be defeated. The faux wrap into dope to beat about it. The does, like kick to the snare. Kicked to the snare, wrapping the beak developed a pop fare. See how the flows in the stressed syllables hit over top of the flow in order to make that sound. Oh, so I think you got to get the point of what we're doing. But this is the basis of all hip hop structure. So cool 8. How Many Bars Make A Song: Okay, So how Maney bars actually make a song? There's a couple structures. But the thing is that I want to preface is with is that there is actually no formula for making a song. You can make it however you want to make it. Don't you know, follow all the laws and things like that that people try to implement on you because you're just going to restrict your creativity. Sometimes it's good to do that because, you know, they say restrictions create creativity, you know, within a space. But I don't want you to, you know, define yourself by this. But this is what a lot of the popular songs do. And a lot of hip hop songs have this kind of structure feel free to mix and match. I just want to show you how it normally looks, um, in hip hop songs today, what with the emergence of trap rap, it's actually changing quite a bit, which I actually appreciate, you know, Hooks air going on for 16 bars, stuff like that. But this is a general lay. Oh, and this is how you know a lot of rap stars. Look, you know, you got your intro and a lot of beats. So when you open up instrumentals, they're gonna follow this sort of structure. OK, you can interchange the chorus in the verse. Um, and depending on how long the song is, that's how it's gonna go. So you got your intro, which usually lasts about 4 to 8 bars. So 1234123412341234 Boom! And then it's moves right into the verse portion. Or sometimes it'll go right into chorus. You can make it however you want to. But if you find that it's a section with the melody that last for 16 bars long, then you know generally that's going to be your verse, right. You could make it whatever you want, but I'm just trying to show you how it actually works and how the beam maker's structure it , um, so then when you get into your verse at last 16 bars usually versus or 16 bars or they all of this, the bars are kind of multiples of four. Okay, so you got four beats for your intro. Sometimes the bridges to bars. Sorry, not beats you got your verse as 16 bars usually. Okay, sometimes the less ate boars choruses will go sometimes ago. Four bars and then repeat again for another four bars. Or it will be just 18 bar chorus and then back into the verse for 16 bars. Just know that you're not. You shouldn't be putting in like 12 bars four bars unless you have a reason to do that. Obviously, like I said before, you can do whatever you want. But the structure is there for a reason. You know, try Teoh. Chill with it for a bit. You have, like outro is which will last 4 to 8 bars and sometimes a bridge, which is Ah, bridge is something that goes. It's usually about 2 to 4 bars, and it changes all the time. But it goes between the verse and the chorus. It's a way to bridge the verse to the chorus. Ah, and sometimes report repeated. So, like Aesop, rock was, um, fumble at a bed and stumbled to the kitchen. Pour myself a cup of ambition, yawn and stretch in. My life is a mess in. Did it did it did do to do God bless him and that was the bridge into the chorus. And then he goes. In the course of that, he goes into his verse, so there's lots of different ways to structure it, but I wanted to give you the base of what it looks like. Usually this is what it iss where. 9. 4 Steps To flow on any beat: Yo, what's up? Everybody edits in rhyme makers here. We're gonna go over four steps to find the beat. What we confined here? So it's gonna be four quick steps you can find any single beat ever. I learned this first from Common. Who explained this? But the first step is to count to four. So 1234 each one of those counts is a beat, a beat of time. And that's all. A bar is his account of four beats together, as we talked about in our structure section before Step two is gonna be to identify the kick and the snare. So being able to differentiate on different beats where the kick is and where the snare is now the kick is a drum beating. So is a snare. There also, um, have different types of sounds to them. So a kick would have more of a percussion of ah type sound, whereas a snare would be more of like a clap ORAC. And that's where you get boom bat from. So be like a boom and then a bat, and if you like kind of that style, right, and then the high hat is just in between like a. And you don't necessarily need to focus on the high hat. But that can come into play as well, which is kind of cool. Step three is going to be understanding that the kick is on the one and the three beat and the snare is on the two in the four beat. So that's good. And that's what Um, generally a hip hop beat is. So being able to identify where that is in the track is going to be the most important thing there. So if you count out 1234 so that the kick lands on the one and three and the snares land on the two in the four, and we're gonna pull up some beats and just try to dissect that. So I'm just gonna pull up some random beats that I haven't even listened to yet, just so I can show you guys what it sounds like. You can hear it already. 12341234 234123 to the fore. Yes, so you could find that beat with the rap, though, I'll be sitting in the back row asshole maybe try to put the words on the beat when I'm looking for reverse to complete her that it's May Edwards work in the street like I had a fucking time, though I spent that wind flow. It's like I had someone Melo have been designed to close Every time I found my flow, it's like a kaleidoscope. You know, I got that high drop the g, trying to get the thing because that's round. Follow me. I kind of get lost there in the beat sometimes. But that's a cool way Teoh to do it so we can even find something else for that kick is a little bit of a different style of a kick drum. So 1234123412341 into the two into the three into the four hot. So that's kind of how that goes now. You could literally break down every single track with a four syllable word as well, and I learned this from common at first, and he said every track and he has a track called Watermelon, and he said that Ah, every track and be broken down by a four syllable words. So what term, Ellen. And you can do that with any single track ever. So kind of a cool concept to understand. But that is how you find any single beat. And that's how you are going to kick flows, men. So Edison rhyme makers. Hopefully, this helps you out. All right, Peace. 10. How To Make Words Flow On Beat: Okay, Hopefully, I'm not repeating myself here, but we're gonna talk about how to make words flow on beat. That is what rap is, and that's essentially the idea of rhythm. Now we went over a little bit on the poetic meter, which I think also kind of gets that across. But I wanted to take a moment to talk about, stressed in stressed syllables again. Hopefully this isn't, you know, beating a dead horse or whatever, but, um, in order to make words flow on beat, the act of saying a stressed syllable at the same time as the 1234 beats is what gets known in rapid staying in the pocket. Okay, that's the flow staying on beat or staying on flow. So every time there is a beat. So 1234 you say a stressed syllable every time or almost every time. And as you get more advanced, you can start leaving them out and then coming back into it, going off flow and then coming back into the flow to create a little bit more depth and contrast in your verses. Okay, so, for example, when you say the word one, that's a stressed syllable. So when you count out the beat 1234 you're dropping stressed syllables on each of those beats. It helps you learn where the stressed syllables need to go. Now, when you say 1234 at the exact time that the beat hits, you are on flow perfectly. You were in the pocket. You can say one to the two to the three to the four or 1 to 2. The 341 did it. A. 2 to 2 to 3 to 2 to four, and you got space in between the one and the two and the three and the four in order to do whatever you want, OK, now you can change it up. You can leave spaces. You can also have pauses, or what you can do is you can do whatever the freaky want. You can mumble or gibberish in between them. It doesn't really matter. But that's what's gonna be your flow right? That's what you're going to develop. But for practice, we can put unstrapped syllables in between, right? So when you're saying 1234 you can say one and two and three and 41 in two and three and four where you can go one to the two to the three to the four because the to the is a stressed syllable, and the 1234 are the numbers. I know I've said this over and over again, but I can't express how important this is in order to stay in the pocket and on be you'll hear rappers talk about staying in the pocket. That's all this is. So when you're saying a word So, for example, how to make words flow on beat, how to make words flow on beat? That's what it would be. You would put the stressed syllable. So how to make so how to make is the how and the make are stressed syllable. So how to make words right? You could you could still have stressed syllables in between them, right. But you need to make sure that when that two or three or four becomes that you have another stressed syllable landing on top of those, okay, and then you need to make sure at the end of the bar, the on the four beat your really hitting that four beat hard you can't miss that for be with one and the four beat are the two most important beats to hit. Um, because that's what sets the foundation of the track. And that's what sets the foundation of the structure. And that's why when you sound off low when you're not hitting those beats with stressed syllables, you're going to sound super off low and choppy. And that's why rappers suck. That is why they're missing all of the don't flows and stuff and patterns and things like that. They're just saying their lyrics over top of a B and not understanding how to craft their words so that the stressed syllables land on top of each of those beets. That's all hip hop is, and that's all doped flow is, and then manipulating that to come in and out of it afterwards. And that's the most exciting thing you can do on flow. So it sorry if I'm getting a little too excited, but that's what I really nerd out over a super word nerd. So, yeah, hopefully this helps you out, and hopefully it's not repeating the same thing. But I wanted to get this point across just to make sure it was concrete. Alright, Edison ride makers peace out 11. Mumble Rap, gibberish, and scatting: Yo, what's up, everybody? Edison rhyme makers. We're gonna talk about mumble rap and gibberish and scatting Um, some of my favorite topics. This is the best way to find your flow in hip hop and to take that flow and then put it onto paper. So to take what's in your head and actually get it onto paper, this is 100% the best technique or method to use. Ah, lot of rappers. Ah, uses method, and a lot of rappers are doing this right now, So I was gonna turn this beat on yo So the whole key is to just spit a bunch of mumbles and gibberish and try to find the flow that way on down. What it does is it trains your brain toe, figure out what stressed and unstrapped syllables. They're gonna work data data about a father, but dot, dot, dot, dot, at the bottom, a representative bend abundant beat debated right. It defied on the debt. It kind of defeat. Like said indeed it a rapid Tanamor about the front of the other rocket, about it of a I want to see the middle on the need of Monroe's and supplies indigo was a bust out to pose like does it made a rock bottom line a thana treated to beat a fight on the kind of like a loaded a motor road opponent and holder doted and voted to go to robot devoted like a boom I'm superhuman I know what I never show When the pope when a rolling over the coordinated like I had a motor home over the resize Boston the beast A beast of freestyle See, I know it sounds stupid as shit, but I'm telling you right now, if you can translate your mumbles and your gibberish into actual lyrics, that sound similar to that is going to sound dope as fuck. Um And it actually teaches you to find different types of flows for different types of beats. It shows you where toe where to change it up and stuff like that. So that's kind of cool as well. Just kind of cycle intrusive beads Here life beat in pata puppet return pasa Somebody beat em pasa wrapping them in the mold cold, that senator in the back best in the whole, hoping a little bit don't seem to be to be broken. I'm going to be back in a boat like send it in the mid of Innovative it a bit of a little minute veteran of Mana Mana separate, tweet, blindfolded, dedicated. But about Ziana, like I don't want this poppet, if I don't cost us like a bottle process with a bit of it up in a little bit, this'd don't with the walk. I'm walking someone in the trap of the past like that. Bit of recent caution. That's it. Don't So you can see how that could work for literally any type of flow ever for a trap for rap for, ah, lot of even song writing in general. Some of it's going to be softer. I just have ah, general tendency to be aggressive. Um, it's just kind of in my nature, I wrap Angry is just something that I've always done. Um, I enjoy it. I enjoyed that style, Um, but ah, you know, everybody has a different style. So if you have, like laid back beats and you want to find your flow, that's a great way to write rap hooks. And that's how I always recommend to write rap hooks, which we're going to talk about a little bit further in writing actual rap lyrics as well. And if you can translate your rap lyrics into that type of flow, it's going to be insane, especially if you can freestyle like that as well. That'll be crazy. So hopefully this video helps. It's one of my favorite things to share, so let me know how this works for you on even, you know, send some videos of you spit in that gibberish, man. I love the gibberish flow, So send him in Edison Rhyme makers piece out guys. 12. Poetic Meter and what it can teach you about flow: Yo, What's up? Everybody edits in rhyme makers. Let's get into poetic meter and what it can teach you about flow. It's really cool concepts in here. It's not something that you really need to know 100% but understanding this will make you a better wrapper when 100% Um, I don't care what anybody says, but poetic meter is rhythm in words. That's what poetic meter is. Okay, so if you understand rhythm in words, then you can apply it over a beat as well and change up your flow. I'm also going to show you how me goes. Uses one specific type of poetic meter toe. Have that triplet flow that's where that comes from. It's a certain type of poetic meter, and I'm gonna show you guys that in that video as well. So Poetic meter is the combination of stressed and unstrapped syllables. That's all poetic. Meter is different combinations of stressed and on stressed syllables. So you're finding that stressed and un stressed syllables are super important to understand . But I'm gonna try to explain this to you in a simple is possible because a lot of the words and the choices of terms they coined for poetic meter are just dumb and really complicated , and they make it sound silly. But really, all you need to know for hip hop and how to apply it to wrap is there are five different types of poetic meter available. Um, and iambic pentameter is. I'm sure you've heard of it before, but it's a type of poetic meter, and it's one that Shakespeare used a lot. You can take iambic pentameter written out in all of different types of Shakespeare's works and put it over a hip hoppy, and it will always flow. That's an interesting thing to know, because that essentially, I mean, you don't want to have the same flow all the time, obviously, but you can understand how wraps are supposed to be written and how to be on flow from the type of a emmick pentameter in different types of poetic meter. So here's an example off. One type of poetic meter iambic is so there's to be to break this down. Specifically, I am Bic is stressed syllable or unstrung syllable and then stressed syllable unstrapped syllable than stressed syllable. Iambic is that combination on stressed syllable in stressed syllable. So the beat, that is what iambic means pentameter is how many times that repeats in one line. So the beat is dope and really so thin. Great, That happens five times. So the beat is one is dope is to Anri is three lease, um is four then great is five. That's what iambic pentameter is. All you need to know is the Amick, a portion of it, the beat. That's the main thing to understand. The next type is TRO cheick. Okay, this is where the stress comes first and then the in stressed syllable. So, for example, walk in under bridges nightly Okay, It's always ah stressed and then unstrap and then a stress and then unstrap and then a stress and then it unstrap It's always that right? So tro cake is walking under bridges nightly. It's always that combination of the two syllables ah stressed than a non stressed syllable . So I am big is unstrapped and then a stressed and then tro cake is a stressed and then it unstrung est. So if you were to be like about that's iambic, if you were to say doper, that stroke aic and that's all That means K, how this works for rap. I'm gonna show you in a second, but as we get into the other ones, you can see house. So this one's the next one. And I hate these names, but that's what they're called. This one's called Spahn Day IQ. So this one is a stressed and then another stressed. OK, so hold back. Ah, lot of compound words like dope raps Or, um, you know, stuff like that are compound words. I'm trying to think of another compound words, but they're too stressed syllables back to back. Okay, um and that's kind of how that functions. So hold back is an option of that. So now we're looking at meter with three syllables. Those were all with two syllables. Ah, and now this one's called Anna Pest IQ, which is such a stupid name as well. But what and a pest IQ is is an unstrap est than an Unstrung est and then a stressed syllable. So an option and an example of that is, and the style of my voice and a beat and the style of a voice and a beat and assalum a voice and a beat The combination of that continuously is called Anna Pest IQ. Okay, um, and then you're going to see the Dac Tillich. This is the me goes flow. It's a stressed and then an unstrap and then an unstrapped syllable. Um, so about it, about it, about it, that's what it is, right? Doper than everything. Everything. I don't want to get on an abandoned A I run independent attended a to 10 in a tent in a den inte. That's dactyl IQ flow right. That's where that comes from. That's how you explain the me goes flow in triplets. Um, and the combination of these different types of poetic meter is how you actually form flow on top of a B. Now why? I don't think that poetic meter actually matters that much is because in the English language there is already politic meter attached to it. But what you need to understand is that the stressed and unstrapped syllables is what creates rhythm. So different combinations of stressed and on stressed will create different types of flow. And as you find your beat, you can actually attach these types of different rhythms to that beat. For example, if you had a beat. That was like, um you know, and you were like butter that But what about the bottle it up? But but But it had done a departed about about it, about it about a, um or, you know, it's like but but a but a But but but but But that's how you get different types of flow and different types of rhythm over top of the beat. I'm gonna show you a little bit better examples, but understanding this is really, really cool to get. So let me know if this helps you out. It goes way Maurin depth in this. But I think for hip hop and rap, this is what's most important to understand. So thank you guys, check out the next video on flow. Edits in rye makers Peace out. 13. Slant Rhyme and Phonetic Families Chart: all right. What's up, everybody? Edison from rye makers here to get into the multi syllable rhyme course, We're going to start it off really quickly with slant rhymes and the difference between them and perfect rhymes. That way you can build on that foundation and move forward to come up with some sick multi ease. And I'm really excited to get into this. So let's get started right away. This is my favorite part of hip hop, my favorite part of rap, which is forming multi syllable rhymes. And this is the start and the fundamentals of the foundations. So we're gonna go over everything you need to know about slant rhymes in this in this little mini course. Okay, so I'm gonna get right into it right away, and I'm gonna tell you guys what a slant rhyme is. So what perfect rhyme is like the cat in the hat style rhyme where all of the continents at the end of the syllable or the word are the same. So notice that all of these air tease here So cat bat pat, fat stat. So the words of the letters on the start of the word are different and the letters on the continents on the end of the word are exactly the same. That's a perfect rhyme. What a slant rhyme is is when the letters at the front and the back are different. So cat back So that has a different sound in a different continents. Tap is different than t and C k. And that's all the slant rhyme is It's super simple to understand. But there's actually some, you know, detailed mechanics that going to understanding it that will help you build on top of that Momenta Mus Well, so a couple of the rules are the vowel sound of the syllables of the same. So they're all that ass sound. Or if it was an o sound, it would be dope, right? The ass sound is the vowel. They need to all be the same. Okay, in order for it to be a slant rhyme the continents after the vowels belong to the same phonetic family. And I'm gonna tell you what those are soon what a fanatic family is. We're going to get into that. But essentially what it is is just different continents. At the end, that kind of had the same sound. And then the sounds before the vowels are different. That does not necessarily 1% percent true on, and we'll talk about that a little bit. But the reason why this is important is because when you Onley use perfect rhymes, this is your options that you have. These are all of the options for the word tap. For example, there is what is there like like I don't know, Not that many options available. And then when you look at the slant rhyme options that you have, it opens up a creative bag, a creative grab bag, and you open up a whole new world of potential rhyme schemes you can use, which means that you can get your point across better, and you can say what you want to say and just change it up instead of using the same cliche rhymes over and over again that people do. So I really like having that as an option. For example, if you were to rhyme the words safe and Onley use perfect rhymes, there's only three options and I don't even know what wave means. So if you were to use the slant option, the and change up the continents at the end of the word, they'll have that a sound. They'll have the a syllable sound, and then after the syllable, they are changing the constant sound So safe. Faith base case brave tase they all that a sound, but they change the constants after that's all it is super simple, easy to understand. Ah, and just another example here of the options that you get from the perfect rhymes to the slant rhymes so you can add in like, for example, if you wanted to rhyme gum, you can add in things like Tongue Now, which is really cool, and then phonetic families are super important to understand. There are three phonetic families that you just need to understand, and that's it. After a while, this is going to become second nature, and you're not going to need to even think about this anymore. But fanatic families are just the continents that are grouped together based on the sound made by your mouth. That's all phonetic families are, and some of them are closer together than others. Okay, so it's it's a little bit tricky to understand, um, but I actually want to show you the chart first, so you can look at it. This is the chart of phonetic families. Okay, you're going to see here There are three different sections. You have PLO sieves. You have Fricka, Tibbs, and you have nasal. Those are the main things to understand these continents. The B dy g r all grouped together because oh, how they sound so similar together P t k have a little bit more of a sound to them. So they're group together. Implosive. So PLO sieves have that kind of explosive sound. So the but uh huh, but took where And then you have the frickin of section where you have the little bit of like a shaker sound to it, like V worth or is. And those are all grouped together in different sections as well. Then you have the off and and which sounds and then nasal is get a section for themselves and those always include em and end sounds or tunes. Sounds always with em. And endo Ah, you don't use Maysles for anything else except for those two. So that's important to understand. Some examples of these guys would be, for example, if it was a PLO sieve, and you wanted to rhyme the word dub. And you wanted a slant rhyme for the word dub. You would just replace the, um, the cost in on on the end. So, for example, if you just wanted to do dub and dud, that works as well. But you can have options anywhere in the PLO sieves family. Okay, so these air all group together, and the closer they are, the better. But you constrain and get a little bit further away. So these are all part of the close of family the B, d. G and T P. K. So you can use any of those constants on the end to find good slant rhymes so W could use, but rug pup shut. Luck or rep. You can get set neck, Deb, bed, leg or Gabby, You got bad tag wrapped, cat and back. Okay, They all sound fairly similar, as obviously you move into the teas and the piece in the case. It sounds a little bit different, right? So you can hear that, But when you're wrapping, you'll find that you move through them so fast when you're wrapping that it doesn't even matter And this is what rap has turned into over the years. Actually, mess this up a little bit. Ah, with the frigate IBS. So I'm sorry. My examples are actually just the same as the last one, but say we were to rhyme the word dove like the word like the bird dove. You can use the same, uh, the same family and rhyme, Um, dove and tough, for example, that's an f sound. So tough on and dove and, um, gush or cuts clutch, for example, or buzz. And those are all the frigate of sounds and those ones are all grouped together as well. And then you have the nasal option, Um, which is, you know, it's still there. It's available in there's words that have those in them so hum rum, bun, lung, tongue and those are all grouped together as well. Sorry about those slides there look a little messed up, but the closer you keep your rhymes to the same phonetic families, the tighter they sound. Okay, so the b, d and G, the closer you have the continents. So bag grab and Dag, you know, whatever that is, they are all going to be tighter, right? So it's closer to perfect rhymes. Whereas if you were to say, bag and bat, those get further away. They're still part of the PLO sieves family, but they're a little further away. Okay, this matters in rap because it opens up a huge assortment of options for you. When you're trying to get your message across and that's what you want. You want mawr options that don't sound cliche the same as everybody else. And you want to be able to express yourself the way and you want to say the words you want to say. But you still want to rhyme. Okay, that's why it's important now. The next thing we're gonna look at here is something called additive rhyme. Super simple. OK, but if you have a word that ends in a vowel like day or by or go or see, you can still add on Constant onto the end of that and still counted as a rhyme. Okay, so day and drag still have that same style. OK, bye Bride, Go Grove, See deed. Those all have extra constants on the end, and that's a possibility as well. So that opens up even Mawr doors for you. And then you also have something called subtract of rhyme where you take away the actual constant and on the end, so will be fast and then say it was class or mask and mass fact or back because instead of it being backed, in fact than you would just have back. But it still works inept and rep. I think that makes sense. I'm moving through this because I don't think it's, um you know, I think it's something that you congrats pretty quickly, but it's important to know because it's gonna build on the foundation of the next thing we're going to dio. This is something that's called accidents, rhyme and all accidents. Rhyme is, is the same vowel sound. They don't care about continents before or after. It doesn't matter what they are. So if you're trying to rhyme, drown and mouth, um, that's still in accidents rhyme and this becomes important because accidents is still considered rhyme. But when you add accidents into the first parts of your bars and rhymes or the first parts of your multi syllables, and then work towards a more perfect rhyme at the end, it creates such a cool contrast. So I think this is really important for your creative expression and getting out what you want to say in adult manner, and it's still having it sounds so sick. So this is I mean, I'm pretty sure that's the end of it, but what I want you guys to do, and I mean, if you if you want to, I think it's important to just give it a shot right out. Um, you know 10 solid slant rhymes for the word goat and then move on to the next section. Edison Rhyme makers piece. 14. Multi Syllable introduction and 2 Syllable Rhyme Schemes: Okay, so we're going to move into my favorite subject of all time, which is multi syllable masterclass mayhem. This is Edison and rhyme makers. And I'm gonna show you guys how to start off with two syllable rhymes. But first, we're gonna talk about why multi syllables are important and what a multi syllable rhyme is . So if you were coming from the previous section, you saw that we were rhyming cat in hat and bat together or back and latch and crap. Um, those are all one syllable words. Now when we add another syllable into the word, then there's going to be mawr options. And that's what a multi syllable rhyme is. Eso, for example. Ah, one of my favorite rappers of all time is shad K and I get down some rhyme analysis here. So the suckers and frauds with soft stamina trouble me Duck a roll damage on Camera Republic. Lee went under the subtleties. Brother, please on the biggest thing at a Canada since Pamela's Double D's. So what you can see is that stamina trouble me camera publicly um, Canada. Pamela's double these so the stamina damage a camera trick. Canada, Pamela or the same bribe scheme, but also the troubled me publicly under the subtleties, Brother, please, double D's or all the same. Briand's scheme is well, that is what the essence of multi syllable rhymes. And that's what M and M does so well. And why he actually blew up to be, I mean, obviously there's more reasons as well. These are just some of the rappers that use multi syllable rhymes, some of the best rappers of all time, even some of the new guys like Earl Sweatshirt on Chance J. Cole Kendrick. All those guys, they all use multi syllable rhymes. Logic Tec nine MF Doom To live equally most def. Rock him Big L um, all these guys used multi syllable rhymes schemes and it's just, I mean is one of those things that creates It separates the good rappers from the best and top tier rappers, and it's probably my favorite thing to do in rap. So let's get into the two syllable rhyme schemes. There are two different types of two syllable rhyme schemes. Okay, there's a one word option like, for example, rapper. Okay, that's two syllables rat per, that's a two syllable word. Okay, So rapper Wacker Ladder mastered Thrasher. Those all rhyme with rapper. Okay, that's a two syllable rhyme scheme. Um, the app portion is the stressed syllable off the word. Okay, so there's two syllables in the word rapper. One of them is a stressed syllable, and the other syllable is an unstrung EST syllable. So you can see here the ass sound is the rapper sound. You wouldn't say Ripper, right? It doesn't make any sense. So in the English language were defined by the difference in the stressed syllable and the UN stressed syllable. So when you have the rapper, it's important to notice where the actual stress is on the words. So the stress on this word is rapper. Or if I was to find the stress on, said another word like um, for example, Doper, I mean doping. Where's the stressed syllable on doping? It's the dope sounds of doping doping. That's what creates rhythm in the English language, as we talked about before. But I think that's important to understand. The second type of two syllable rhymes scheme is a compound word, which means that both of those words are stressed syllables. So laptop that's a both stressed. Okay, which is cool, because then you can start getting into two syllable rhymes that are both stressed. So laptop and snapshot in half cocked and backdrop all have full rhymes together. So I'm gonna talk about how that actually works and how you can actually rhyme those two full stressed syllables together. So you break it down into into different pieces. Okay, so there are two stressed syllables in this word at and ah, OK, so laugh top laptop. If you were to take away all the constants, it would just be at All right. That's the accidents of the sound. It would be at an all. That's what it would be. Now you can literally keep those two sounds together and then manipulate and move all of the continents around them to create different words that completely rhyme both of those syllables together. So snap shot, right? Slap shot, laptop crackpot. Right. So what you're going to do is and a great way to actually go through the exercises of building and finding different two syllable rhymes is to chunk it and separated into two pieces. Okay, so take if you want it to rhyme laptop you would find a bunch of different slants rhymes for lap first. Okay, so you would just go through and write down as many as you can think of. So slap hat, batch, batch, whatever you go all the way through, and then you go through and you write all of the different options for top and you would get shot Thought lost, moth lost. Whatever. Okay. And then what you do is you start to piece him together to find words that actually make sense breaks. You can just say, um, you know, grab cough. It doesn't make any sense. So it has to be relevant. But so that's what you're searching for. You're searching for something like snapshot and laptop. Those are actual words that rhyme perfectly together. OK, so if we were to, you know, go through and find that find that structure, um, we would That's all you would do to find those different rhymes. Another example of that would be, um, so it's say it was dope raps, right? We would be trying to find a bunch of things for dope and a bunch of things for wraps. But also there are words that will be just one word that also has to stressed syllables like Kodak. Right? So Kodak, um, and like Kodak moments. So Kodak and dope, rap and smoke crack and broke back or all perfect rhymes together Now I'm sorry, Not perfect, but they all rhyme together in a slant fashion. And that's all that two syllable rhymes schemes are. So you have those two options. You got the stressed syllable in the in stressed syllable like rapper, or you got the two stressed syllables like laptop and that that's it. So another option for a two syllable rhyme that's a stress and unstrap esses um ah, forming. So I'm forming a rhyme. So Foreman, so warning Torin Morning. So stuff like that, you can see that there's ah stress than the in stressed. So hopefully this helps you out a ton. Um, and like I said, this is one of my favorite things to do. So I want you to do the exercise in the next drill, and I want you to write some of your own dope as two syllable rhymes to give you and start building your own rhyme dictionary. Alright, Edison Brian makers piece 15. 3 Syllable Rhyme Schemes: Yo, What's up, everybody? How we doing today? Hope everybody's good. We're gonna move into three syllable rhymes schemes, and this is where we're going to start getting into some or exciting stuff with stressed syllables and unstrapped syllables and probably one of the most important things when actually creating your ride schemes. Just gonna turn to camera this way a little bit while we're doing this. Um, but I think that this will be really cool for you guys to see and just some examples and stuff like that of good rhyme schemes. Ah, and how to, you know, manipulate them in such a way. So let's move on to the next slide so stressed and unstrapped syllables before we really dive in. We want to talk about stressed and un stressed syllables again, as you can see how important it actually is. Um, I almost made a full topic just on stressed and on stress, but it just really kind of trickles in and a lot of these different aspects in hip hop. But some of the examples that we're going to go over let's talk about like, where are the stressed syllables in certain words and certain phrases. So, for example, we're going to start with Thea Example anti Christ. And we're because I think it's a good example of how to use stressed in on stressed syllables. Um so where or the stressed syllables in the word or phrase anti Christ? There are three syllables in the word anti Christ, obviously so anti Christ different. Three syllables. Ah, cool tip for finding the actual how many syllables There are a lot of the times you confined them by. Just look counting. How many vowels? Aaron? The set in the word, um, you know, there are some exceptions to that, but there's an A in I and another I. And that's where you get your syllable count from. So that's a cool way to determine where the syllables are now. The emphasis is what a stressed syllable is. So where is the emphasis in the word anti Christ? Okay, now, determining this is important, and for native English speakers, this is easy. But for people who aren't native English speakers, you have to determine where the emphasis and the stresses on the words or the sentence so anti Christ so anti Christ. When you say it like no. Normally there's, Ah stress on the aunt, and there's a stress on the I. So there's and I kind of in terms of the actual too stressed syllables that are important toe to see. So you got the and stressed you got the Teoh and then Christ so anti Christ. That's how you say it. Normally, that's where the stress and the UN stress are now. The reason why this is important to understand, because when you're rhyming, the main part of the rhyme just needs to follow those stressed syllables. The words and the stuff in between at isn't as important. So the unstrapped syllables like the so anti Christ. The tea isn't as important to rhyme, and you can find way more options available for you, kind of like with perfect and slant runs. So this is where we're going to be, um, so you can use close to perfect rhymes like, for example, if you were to use, um, anti Christ panty heist, anti deist, some tomatoes, shanty priced. Those are all pretty close to perfect Rives. They'll have that anti Christ panty heist anti deist, which makes sense, right? But if you are to go On top of that, you can have more options available to you if you just use the near rhyme option. Now why, That's cool. So if you just use slant rhymes so you'll actually break it down into So you have anti as one section and then Christ as the next section, and you could come up with a slant rhymes for those so anti Christ Camry lights. So Lights and Christ that's a slant rhyme anti and Camry. That's a slant rhyme. Family fights Nancy Price. Handy knife Fancy bikes, which is cool. You get more options that are available to you now. On top of that, this is super important to understand the rhyme, the stressed vowel. You don't have to rhyme the unstrap vowel. So in the middle of anti Christ, there's a little unstrapped syllable in there. You don't have to rhyme that at all. It doesn't even have to have that e sound to it. Okay, um, so that being said, you could have something that's like, let's see some examples on here. So, uh, you got camera sites? So Camrose sites. It's not Camry sites. It's camera sites, but anti Christ and camera sites still works. I can recite camera sites with grand advice. An anvil strikes. I got candle lights and like Vanna White, I'm gambling dice. I got a sample slice so I could manage life. It's You can come up with words, so if you start with the stressed syllables, it's that's the most important thing to rhyme. And like I said, the end of the rhyme, which is always the last syllable, is the most important to be the closest, right? So you could even say rap in life and anti Christ. It's not as good because yes, the end in the M sound need to be there to make it sound a little bit more crisp. If you know what I mean by that, let's take a look at another option here, which is private shows. Okay, so private shows doesn't have an enter an M in it, Um, but say, for example, a word like kaleidoscopes. Now that's four syllables. But if you structure your bars properly than when you say, Yeah, I got some private shows, but I'm looking through kaleidoscopes. It still is a multi, but there's that extra syllable at the start, so essentially you would just use that guy. There's also going to be other options that you can use and change it into two words. So private shows wine merlots, right? So you're you're not rhyming private with wine murder. It's more like you're just using the stressed syllables toe. Understand how this sounds? So I oh, I and oh, that's essentially where you're trying to find it, right? So private shows I and oh ah, wine, merlots, designer clothes, violent robes, the highest dose time flying close to the something, something you know what I mean? So I think that that's a cool thing to understand. And then, with the stressed syllables, you still have the option for three syllable rhymes where it's all stresses K. So, for example, if you wanted to rhyme, Dwayne Wade shoots those air all stressed syllables, okay, because mostly they're all through its three different words, right? It's almost like a compound three syllables, But it's not, um, Dwayne Wade shoots. Now you can go through and find each particular rhyme for, like, Dwayne and Brain and game if you want to. But know that at the start of the rhyme it's not as important to be perfect so you could use words like Dwayne and eight or may or make or hate right? The most important is the end of the rhyme. That's what needs to be the closest to the Phanatic families or the actual constant sounds that comes off of it. So when Dwayne Wade shoots, you could say eighth grade roots or Dwayne or Brainwave Loops A your My Brainwave Loops. When Dwyane Wade shoots, I got game day jukes. Since my eighth grade roots, it's like Malay moves. I go home and make great juice and never mix it with vodka cause I hate Grey Goose or something like that, right? You see how it just starts to sound dope when you get those multi syllable rhyme schemes in there? I think that's super cool thing to understand now. You can also have stressed, stressed and then unstrapped syllables. Now it's important to know that because even though this is an unstrapped syllable at the end of the rhyme, it's you still have to be as close to perfect at the end of the rhyme as possible. That is, in order to maintain the structure, because I could say, say, I wanted to rhyme snowblower, right? You can't rhyme snowblower with slow going. It just doesn't sound that good snow blower and slow going. It doesn't sound as good as if it was snow blower with a comb over. You know what I mean? I saw his comb over after hitting them with a snowblower. I got no closure from being stone sober. The boat motor. Give him the cold shoulder. I don't know how I fit broke toaster into their, but ah, it's you can understand what I mean by the first part of the rhyme doesn't need to be is perfect. Whereas the second part of the rhyme or the last part of the rhyme does need to be closer to tight, which is super interesting to understand. So have ah worksheet following this lesson and you can build start building your own multi syllable rhyme book by going through and finding your own cool rhymes for some of these different options that I have laid in there. Andi, I'll give you examples. You can also just come up with your own three syllable rhymes. But I highly recommend just doing it writing out, you know, 5 to 10 rhymes For each cool three syllable things you can get a feel of the different structures from the stressed syllables and the in stressed syllables. But yeah, Edison, Rye makers. We're going to move on to four syllable rhymes Games after this eso piece catch you in the next video. 16. 4Syllable Rhyme Schemes: Yo, What's up? Moving into four syllable rhyme schemes now? Hopefully, so far you have understood and grass the stressed and unstrapped syllable concept because it is one of the most important things. But we're gonna go into some examples and exercises right away for the four syllable rhyme schemes, because I don't think that you need to go over anymore tutorial and how to You just probably want to see how these things are being shaped and maneuvered around. So, um, in this example, we're going to start with the four syllable rhyme scheme marketing pitch. So Mark cutting pitch, that's four syllables. So where are the stressed syllables in marketing pitch? So the to emphasise on the syllables are the mark and pitch you got bada bada pa. But it oppa, that's where the stressed syllables are on the on. Stressed syllables are cutting marketing pitch. That's the four syllable word that we're going to use to start off with as an example. So you know where the two stressed syllables are. There is the stressed syllable at the start and then to unstrap syllables and then another stressed syllable. Following that now again, like I said, the most important part of it is to rhyme the stressed syllable. So are an ish, Um, and at the end of the rhyme, like I said, it's the most important to get close, right? So niche, um so you want to be as close to niche as possible in the frenetic family and as well, saying with the on the other stressed syllable, You want to be as close as possible there as well. So I'm carving a niche marvelous nous that works as well. Very cool, right? That's one full word fit into a four syllables that was already broken down, arm getting stiff. So I think that's cool because I thought off, you know, arm and stiff rhyme with car and niche, right? Um, but I'm like, Oh, man, like I don't think of anything that's coming in between that rhymes with, Like, Vina, right? So much so think of like things that you wouldn't normally say right. You know, I think my arm's getting stiff, Ray. I'm carving a niche and my arm's getting stiff from from And then my car's in the ditch. Karma's a bitch started to flinch. My article skip of my particles split It's just hard to resist this marginal shift. It sounds super dope when its put like that. Now I want to let you know something in a great way to structure these bars. And to figure this out is to start with the stress syllables first. Right? So are an itch. So if you want to break it down into even if it's more than one syllable you can think of what are words that have that are sound in them? That's where you're going to think of. And what are words that have that itch sound? Okay, so you're gonna be like our, um I don't know, Bar Theo bar are a bargain. So bargain, bargain and chip, there's another one. Don't even think about that. So my bargain and chips carving a niche, and then you're going to think of what else has that are sound like our, um you know, I'm for high farting is farting this bitch. Um, so you know, my my carving a niche. I'm marvellous. Nous my arm getting stiff. I fart in this bitch stupid. Um but I think you're getting the point, right? So the two un stressed syllables again. Don't matter as much so you can think of those stressed syllables on. And I think that's really cool. An And it's probably one of my favorite things to do it. It's super fun to dio um, so definitely try that out. There's also another option. Obviously you have the stressed and then the unstrap est and then stressed and then unstrung est right. So meditation, meditation so med is a stress is unstrung s, And then teii is the stressed again. And then un is the constraints of meditation, meditation, separation are getting patient. Bread is bacon, and the weather's changing the refs and the refs. Amazing. Usually they're not. But for my entertainment, I got some clever statements. Um, and again, like you said, So it's not as important around the unstrapped syllable, right? So you can think of what are words that got that that start off with that ass sound? And then also, um, what are words that start off with that? A sound so at a and add a and so men and men adjacent bed of bracing pit of placing better placement. Um, and then you kind of go through like that and then even just use the alphabet soup method of going. So what's a word that starts with a You can start with B so bad, you know, bed. My bed is, you know, break in my hey, yo, that girl's I got a girl to my house and her bed is breaking. It's kind of like that, right? Um, and then kind of go from there. I think that's pretty self explanatory because you can see the process that starts to emerge as you start to think of these runs now, obviously, this is a perfect rhyme. Separation and meditation is both one word, right, and the end of it is perfect. Now you want to change it up. You don't always want to have vegetation separation, meditation, meditation, dedication, penetration, meditation. You know, it's it gets kind of boring. So if you can think of other ones that are close, like impatient with irritation or bacon and change in amazing those air cooler and different more slant rhymes for the Asian right now, at the start of it, you can think Okay, I could just use one syllable for the stress so met and then get or and then you can have, Ah, three syllable word toe Match these three, Um and then you can change that up. A swell as it goes. There's so many different options that you could write hundreds and hundreds of rhymes and never run out of different options that are available, which is so sick for getting your message across. Um, you know, so that's that's pretty cool. This Well, you also have options that are stressed, stressed on stressed and stressed again. So dope raps and beats smoke crack for weeks. I don't actually smoke crack for weeks. Not for a couple of years now. I hold back the speech. My note pads unique my phone abs complete. But you hear how the actual rhythm combines. And that's where all of this stuff comes from. And this is how hip hop is formed. This is why Eminem is so dope. Is why Logic tec nine. All these people are so dope because they understand these stressed and un stressed syllables. And then when you use these stressed and un stressed syllables and put him over top of drumbeats, and then you match where your stress on the rhyme goes with the stress on the drumbeat and then also with the UN, Stress goes, it turns into something crazy on, and I will get further into that as we go along with flow and stuff like that. So I think that's kind of cool. Um and then I don't know why I repeated the same slide twice, but four syllable Ryan schemes. We're gonna move into 56 and seven syllable rhymes schemes because there's not much more you need to know in order to start. You know, drilling this down in writing your own rhyme schemes. Ah, is super cool, man, This is my favorite part of hip hop, So let me know if this has helped you out. Edison Rhyme makers piece. 17. 5,6,7 syllable rhymeschemes: Yes. So it's time to get into the 56 and seven syllable rhymes schemes as we get going here. This is just how you craft them. I'm going to show you a cool example that you guys can use to try to craft your own as well . Um, but I'm really excited to kind of show you how this breaks down. And the first example we're going to start off with is going to be, ah, six syllable rhyme scheme, which is paleontologist. I got a bone to pick like a paleontologist. So if say, we wanted to rhyme that word, it's six syllables long and we want to rhyme the whole entire word, right? So from Paley and all the weight Atala Gist Um so this up a couple things we need to do. So let's break it down into syllables. There are two stressed syllables and paleontologist on there There's four on stress syllable. So Paley in Ecologist, that's how it breaks down. So the key thing is to understand where the stressed syllables are so a and all, and then so we need to make sure that that's tight. But then also at the end of the rhyme needs to be tight as well. So what you can do is you can actually break it down into two sections if it makes it easier for you. You can break it down into more sections as well to try to get Maurin different types of rhymes. But I find that this is one of the easiest ways to craft. Um, so I like to show this example because this is how I do it all the time anyways, So let's take a look at a couple of different options. So if you broke it down into two sections and created rhymes for each, what you could do is you could break it into Paley and and colleges. So for Paley in you got Stuff Like Failing an alien Australian Canadian Nehlen a major in 80 and Baby and Radiance Stadium catering, cradling a natale a gist. You got colleges, politics, I draw offices, maybe adroll asses novelist, monogamous cottages. Abolishes column has followed this demolishes stuff like that, right? So if you were to do that, I mean you could go to rhyme zone and find those rhymes as well, but you break it down into two different section. And then what you're trying to do is you're trying to find relevant rhyme schemes that makes sense. The things that you would say in everyday language, like paleontologists, is more born in Canadian politics, failing Ecologists and maybe, maybe monogamous. I got a baby hippopotamus for daily accomplishments. Something like that, right? So I think that's kind of cool. Way to understand how six syllable rhymes, schemes work. Um and I I mean, honestly, breaking it down in that fashion is going to be, you know, super sick for you to understand and how to learn. But another thing that I want to kind of throw in there is well, is that the syllable counts matter, right? So sometimes as we're getting more advanced So you heard me say baby hippopotamus, you can hear there's one extra syllable. Enter that seven syllables. So paleontologists baby hippopotamus. That's one extra syllable in there. But what some people do and what I do A lot is actually add an extra syllable in, or remove a syllable, just to add a little bit more contrast to the flow as well as the rhyme scheme. So say, for example, I was to say, Instead of daily accomplishments, I would say daily columnist, paleontologist, daily columnists and maybe monogamous. I would throw it in there first and then at the end of the remote, come back to the actual six syllables. Hopefully, that helps you out. Ah, and it didn't go over your head at this point. But that's kind of where we're at and getting to in this advanced type structure. So as you get to this point, you can actually even rhyme 15 syllable rhymes at some point. Right? Like Supercalifragilisticexpialidocious, who would have to battle this Cassetti as the focus stuff like that, you can literally rhyme everything. It gets really repetitive. If you do so you gotta find Tune yourself to stop with that. But it's still fun to create some of these multi syllable rhymes schemes, and it's what made me fall in love with hip hop to begin with. So hopefully this helps you well, piece out guys 18. How to use rhymezone: Yo, what's up, everybody? We are going to talk about how to use rhyme zone and rime dictionaries on the Internet in order to find cool, multi syllable rhymes. I'm gonna show you a little bit of a strategy here. My favorite one is rhyme zone dot com eso check them out for sure zero affiliation with them, but they're super dope like they come up with the best slant rhymes possible. I'm just going to give you a little bit of a breakdown of the website so you can see and how to use it will use it really quickly here So you can see here. You just have your word and you gotta go find rhymes. Now, when you click on this box, you're gonna find a whole bunch of different grammatical options. But what I like to use is I like to use near rhymes. That's a slant rhyme essentially is what it is is my computer is dying, I guess, um, but near rhymes is a really cool option to use. It is a slant rhyme. That's what near rhymes are. And when you go to type in something like rap, for example and you want to find a rhyme for rap gives you an option for that. Here gives you your one syllable, two syllable, three syllable options for words. But then, also, as you scroll down, you'll see that there's a whole crap ton of options available now. On top of that, if we wanted to find multi syllable rhymes, say, for example, we wanted to find rhymes for dope raps, right? You have to use the near I'm option. But if you go to dope raps, it'll even find you completely awesome. Um, rhymes for some of these right, which is so sick it is literally endless. It doesn't have everything you need, and some of them aren't very good, but you can literally filter out what you find good and what you think is whack rights of dope raps and coat racks is a sick, multi syllable slant rhyme, which I really loved toe have, and I just think it shows that it's ah, how actually unique this website is because there's a lot of other websites that won't actually do that s O roadmaps and dope raps and low pass filters on snowpacks with coat Rex , um, is you know, it's it gets pretty cool that you can find that now There's some other options as well. So, for example, if I wanted to, um, you know you can expand your search, for example, if I wanted to find a multi syllable rhyme for, like, a phrase. So, uh, let's say you wanted to find a rhyme for, um, you know, overpass. Let's say we wanted to find a rhyme for over past. There's not really many that options that air, that air that great. But if you keep going scrolling down, you can actually find a whole bunch of different options down here, right? Polar packs, Um, although perhaps and some of them are badly never passed. That doesn't really work. And you'll see here how it's broken down by the rhyme rating, which is an meter here is well, so what the meter option is is where is the stressed syllable? And where are the unstrapped syllables in the in the rhyme? Um, these ones aren't the most accurate in terms of testing meter, but there's no other website that does that, so you can actually sort by that if you're looking for stress certain stressed syllables. Now, if you go into phrase rhymes. What it's gonna do is it's gonna break it down into Onley phrase rhymes for overpass. So it'll be two words. Minimum now also, what you can do is you can do something like if you wanted to look up. It looks like we had a little bit of a computer malfunction. I just didn't really plug it in. So that's what happens. But what I was talking about is the phrase rhymes. So if you had something like, for example, you wanted to rhyme, Um, let's say Kaleidoscope, we'll go kaleidoscope It's gonna break it down into Onley phrases, right? So final slope rifle scope, science scope these air all scope rhymes the highest hope. But it always be. It will always be in phrase form. And now, if you go back to near rhymes, it's going to show you These are just gonna be the like, the to the syllable lot rhymes. But if you scroll down a little bit further, those are gonna be more of the closest arrived. So Jeremiah spoke the slightest hope. I got a microscope in my kaleidoscope like isotope eso some dope rhyme options that are available there. Um, I You can also break it down into two different sections. So, for example, if you wanted to rhyme kaleidoscope, you would actually just type in scope for near rhymes. You would write down a whole bunch of options that you have for the near rhymes, and then you would also try to find and then even just go through the list like hope I got my highest hope. Kaleidoscope. I try to find a slope, and I, you know, um, I try to cope stuff like that so you can just pick the last part of it that's going to be as close as possible to the perfect tight ending rhyme. And then you create the first portion of it as well. So I think that's a really cool way to do it. Um, and this is just how to use rhymes own man. I think it's super dope. So definitely give it a shot. All right. Peace. Um, even even a longer rhyme, for example. Oh, my God. 19. Google Hack To Find Multi syllable Rhymes: Yo, What up, everybody? Edison Rhyme Acres. This is gonna be my Google hack for finding Mawr Unique multi syllable rhyme schemes via Google Free search tool. Super cool idea. I develop this When I was coming up with new unique rams for battle raps that I was doing in Kott and king of the dot s O. This is a really cool option. I'm gonna show you how it works. So I'm gonna start with the two syllable options. So say, for example, we wanted to find rhymes for X box. Okay, What you would do is so X box is a two syllable rhyme. You're gonna start with the end syllable, So box you're gonna think of a rhyme four box and type it in there. So we're going to say, let's say, um rocks, for example, writes, we're gonna type in rocks and then you're gonna put a space, and then you're going toe tab, not tab over. Just arrow over to the first part of it. But we already see a rhyme there available. So red rocks, X box, red rocks. So you write that one down and then you just keep going from there. But you're gonna use the alphabet soup methods. So this is where you start off with a B C type and be, And what it's gonna do is it's gonna bring up relevant options for you. That air always typed into Google, that auto suggest, and then you're gonna go to see nothing there that has that s sounds. So X is what we're looking for. Um, so we already got red rocks, which I think is actually going to be the best one available. But you're just going to go through and then type in and you could even go f r E or F E or G, and then you could type in the next one. Um, but you start to get some weird options at that point. So I like going with just type the first letter and then go through and see what's relevant on their, um, and see if you can find something cool. I think that Red Rocks is probably the best option for rocks. So we're going to go and see if we can find a different rhyme for that one now, um, so let's say shots, so X box, we're going to go be and we're going to see best Jello shots. Doesn't really work. See nothing There de nothing there either. E not really. If Nope eight. Ah, and type in the next letter. Bam! There you go. Head shots, X box head shots. And that's actually super relevant. So we got red rocks, x box and head shots so far s Oh, that's super cool. Now, on the other side of this, we can also start with the first part of the word, right? So x so say we wanted to rhyme with X We would put in. Um, so let's say next. Right, So we're gonna go next, But then we're gonna type a space, and then we're gonna go do the same thing all over again. We're gonna type in, be so next Bond. Not quite. And we're looking for that ox sound. Um, so we can even do things like this. Like, if we know kind of how that works. Weaken. Go D r o Next drop. Not really an option there. Next f next. No. Next gats. That's fucked. Stupid. Um h I day. Okay. L m no, nothing really there. So let's say checks. Um, we can go with that one. Weaken, keep checking around and see what we can find on these guys. It's a really cool way to do it. Um, again, I like starting with the end of the word first. It's probably my favorite way to do it. Um, let's see what else rhymes with box locks. See if we got anything for locks. The best locks. You got the best locks, man. I have no locks. Oh, dreadlocks. So I got X bucks, head shots, red rocks, dreadlocks all sound really cool together again. It's just gonna be a quick little video. I'm gonna show you another option for multi syllable lines. So say we wanted to do, um, let's see if we can come up with a longer ah rhyme. Let's see, um, what we got here off the top of the head? Um, let's see. So let's try to rhyme with action taken. See if we can find something for that three syllable option here. So you want to find a rhyme for taken? Let's say bacon. So do that. We go to the start here and we look for options that will actually rhyme with action taken and we want bacon, Right? So if we put in that first letter weaken even because we know it's gonna be an asset, we go be a right, um, and think back bacon, um, calories, calories and bacon. Candied bacon. Um, action taken with candy bacon. It's kind of not really that good. I don't like that. One is much e f ah, Francis Bacon. The fact fattened bacon. There we go. Boom, fat and bacon. So you type in the next vowel that because you know it's going to be an ass sound, right? So you go f a and then see what's an option there. So I really like fat and bacon. Um, I think that's kind of cool for action taken. And then also, what you can do is you can do the first part of the word as well. So you go to the start and you type in a rhyme for action. So let's say passion and then put a space and then you're gonna go through and go be, um and then even a, for example, passion. Based in, um, I got my passion baked in a d. A kind of some cool options for that as well. So I think you get the point. I don't want to over do this video, but it's just another extra Google hack that you can use to find multi syllable rhymes. Eso let me know if that actually works for you in the comments Edison Rye makers piece. 20. Crazy 5 step rap writing technique ANYONE can use: you went up and said, It's in a rhyme Makers. This is probably my favorite five step rap writing technique to use its for anybody, even beginners. Anybody could use this and write a full verse pretty much in the next 10 minutes. I'm gonna explain it to you or less so let's jump right into it right away, and I'll show you exactly what it is. I also have a PdF fill out. Follow along as you go sheet so you can download that as well in the course module section . Um, so we're going to start off with the first step of the five step rap writing technique, which is picking a topic. It's pretty simple, man. Just pick a topic about anything. Just literally, um, you know, think about anything that you're passionate about right now. You know, skateboarding, hockey, um, you know, procrastination. Maybe think about what you're angry about. That can also help sometimes. But if you can't think of anything, I have a list of 192 different topics that you could possibly rap about. Ah, and nine of the most searched topics that people request to get rapped about so you could pick one of those as well. Really cool idea. Actually, if you want to enhance the look and or the depth of your theme, you don't have to do this, but you can use something called the idea. Plus, the opinion will equal your theme. So if your idea was say, Ah, basketball, your opinion will be basketball has, um, you know, top me teamwork kind of thing. That's my that's my opinion. And then that's gonna be your general theme. It's a cool way to add a little bit of depth to your track. Easy, easy peasy. So pick your topic on and then move on to step two. So write it in the top little box There. Step two is super important. So write a short summary paragraph without any rhyming. I call it the brain dump just right. Ah, full paragraph about everything that you want to say, essentially outlining your track with the things that you want to talk about in it. This is going to be for one full verse. So just a chunked paragraph. It doesn't need to be a whole page or even half a page. Just a nice paragraph full of words and concepts that you like when you're writing out your short summary paragraph, right? Everything that you think without rhyming, you don't need to rhyme. You can write using the senses. That's one of my favorite ways to write using sight, sound, smell, touch and taste, for example, instead of just showings. So you don't want to tell somebody something. You want to show them something so that they can make their own opinions on it. Because when people get told what to think, they don't really like that. So if you write using your senses, you avoid doing that. You're just saying what you see and what you smell and what you're tasting and touching. Ah, and it's a really good way to, um, you know, get people involved and feel emotional about it and then develop their own opinions as well . And then you can also try to write with some wordplay and similes and metaphors in mind if you're at that advanced level. If not, you don't need to do that at all. Just right. Okay. Yeah. I really like basketball. You can literally right that. If you want Teoh and just write down whatever comes to mind whatever you're thinking of. Ah, step number three. And so do that first and then move on to step number three. Now, what you're gonna do is you're going to comb through your paragraph and you're gonna select four words or phrases from your summary. So you're gonna pick four of your favorite and unique sounding words or phrases. Okay, so you're gonna look through your thing, Um, and you're gonna see So maybe, for example, you wrote down um, you know, I do everything last minute. You're gonna think, OK, last minute. Just write that phrase down last minute and section it into different pieces I have on the pdf. You can see it's you can actually just fill in the blanks. But all you need to do is select four of, um um out of your brain storm summary. And some tips for that is to make sure that they don't sound too similar Eso that they actually create context or contrast in the versed. So say you had, you know, last minute, but I never finish anything. I never finished things minute and finished kind of had the same sound to them. So don't use those to just think of something else or pick a different word. Um, if you don't like any of the words or things that go with it, you can type in something like last minute into the source dot com, and it will bring up a ton of other options like dilly dallied, procrastinate A you know, stuff like that. And then you can use those words and pick those ones. So just select four of them that you really like. And, you know, if you're at the advanced level, you can pick options for multi syllable rhymes. So last minute Ah, Baskin it kind of thing like that. Right? Um so step number four, what you're going to do is you're going to take those four rhymes, separate them, and then you're going to select 4 to 6 relevant rhymes for each word that you find, okay. And what you're going to do for this one is if you're not very good at rhyming, you can go to rhyme zone dot com and you can type in your word or phrase, and it will come up with a bunch of different options for rhymes, and then you're going to comb through the options and pick relevant rhymes to your topic. So if I was to use the word for example, last minute and then I thought, Oh, Basque. And it actually works for that kind of has a relation to procrastination. So Oh, I even just run right there and even realized, um so So last minute I sit and bask in it. Um, so think about stuff like that. My last tenant, um and then make sure that they're all relevant to your topic and they're all kind of you can see a way that they would form a new opinion of yours. That's a really great way to do it. Also stay away from cliche rhymes. So I guess a minute and in it is a pretty cliche rhymes. So maybe stay away from stuff like that as well. And then what you're going to do is they're going to piece your bars together using those ramps, and now what you have is you have 4 to 6 runs in four different sections. So then you're gonna piece four bars together from those rhymes for each of those sections , and then what you're gonna have at the end is going to be a 16 bar verse and you'll be completely written, and it'll all be relevant to the topic at hand. It's a really sick way to do it. It gives you a lot of room to swerve as well. But it also makes sure that the topic stays on point. And if you listen to hip hop, a lot of really good hip hop tracks have a general theme to them instead of it just being completely random. So it's a good idea to try this one out. Obviously, there's thousands of different ways to write raps. You could just sit down and write him if you want to, but this is a cool way if you're if you're struggling, so let me know how this works for you. You can drop some of your verses in the comments below. Please do. I love to see them or spit him on video or spit him over the microphone and send them to me . I don't care. I want to hear him and hopefully this helps some of you guys out. If not, then just let me know when we can try to work on building something a little bit better together. But I've used this for battles and versus before, and it's worked for me a ton. Alright, Edison Rhyme makers piece. 21. Rap Bar Sheets: Yo, what's up? Everybody edits in rhyme Acres. Here we are about to get into the rap bar sheets, which really helps with structuring. Your raps are really just understanding where the look of the wraps come from and each set of bars and just for the general structure and seeing how it actually fits together visually and putting your words over top of beats Really cool. Wait to kind of visually see it. So let's take a look at what the actual rap bar sheets look like. Ah, this is what it will look like. Okay, this is what the actual template looks like, which I have included to download as well, so you can fill in your own wraps there. But I'm gonna go over the structure of it and let you know what this is. Okay, so each one of these on the top here is a beat. So 123 four. That's a full bar. So that's four beats for four or for one bar, and then this is going to represent each bar in a four bar scheme. Okay, um, this is a really cool way to try to structure your raps. You can see how and where the actual stressed syllables land on the beat. And this is, Ah, small little four bar section that I wrote a long time ago that I just added in here to show you so the bold as my cat in the house. So the bold portions of the words will be where the actual stressed syllable lands on the beat. Okay, so the bold equals where it hits on the beat. So Fash lands on the third part of the beat or fashion. And then, um so not making tracks for the fashion industry's most wraps around the backs of my napkins and receipts. And then the italics air called run ins so you can see the italics here, and they're all at the start of the first bar. The reason that is is because at the end of the fourth bar, when you go 1234 there's a little bit of space there after the fourth bar before the first bar starts. And that's where the italics is. And a lot of people will use that space to take a breath and then fit in maybe an extra word, and I call them run ins or lead ins to your next bar. Okay, so if we were to look at this, it would go not making tracks for the fashion industry's and then most wraps around the backs of my napkins and receipts. I put passion into beats establishing a peace cause for me because for me, it's even seem to re will travel in the streets. So not make it tracks for the fashion industry's most wraps around the back. So my napkins of receipts up a passion into beats establishing a peace because for me, yes, even sooner we will travel in the streets and you kind of see how that's actually structured into the beats. And what you could do is you can put in some of your versus or four bar sets into some of these little templates here, and it will help you structure out where you need to put your words in order to have them sound on flow and in the middle of the beats. So it's really cool way to visualized. So hopefully this helped you out. Try to put it some stuff into your rap templates. If not, then what? You can actually do is just use the rhythm of your heart, which is your natural Metrodome. I know it sounds, woo, but to be honest with you, we all have that built in Metrodome. It's just constantly pumping out beats and bars. So definitely use that once you move on, you're never going to need to use this, But it's a really cool way to visualize it. S o Edward Edison rhyme makers, speaks out guys. 22. Couplets, 4 Bar Theory and Quatrains: sweet edits in Rhyme Acres Back from another one. We're gonna talk about couplets, four bar theory and quad trains, Um, and some complicated names. Stupid names. But we'll get to the easy explanation of what they are. So couplets are two bars that share the same rhyme scheme. That's what it is in poetry. That's what it is in rap as well. Okay, so an example of a couple. It would be two bars together that share the same rhyme scheme. So not making tracks for the fashion industry's most wraps around the backs of my napkins and receipts. So be not making tracks for the fashion industry's most rats around the backs of my napkins and receipts. That's two bars counted out, and that's what a couple it is, as long as they share the same rhyme scheme. Super simple. But all of rap is based around the premise that you have 248 bar sequences in order to get your points across. Quad trains are four bars that share the same Ryan scheme. So, for example, not making tracks for the fashion industry's most rats. Around the backs of my napkins and receipts, I put passion into beats established in a piece because for me it's even scenery will travel in the streets. That's four bars of a section that's called the Quatrain all sharing the same rhyme scheme . And as you can see, I got some multi is in there. I even forgot to add in the fact that this is a multi in there as well, but passion into beats establishing a peace. And that is where that one goes. Now we're gonna talk about four bar theory riel quick. But the the idea is, is that four bars generally gets across your main idea. Okay, And if versus are pretty much 16 bars, you can have four sets of four bars to get across four different ideas. And then, bam, you have a full 16 bar verse. Okay. Also, choruses are made out of essentially four bars or two bars repeated over and over again. So four bar theory is almost like science or math. When you look at hip hop, that's just how it's structured. Ah, lot of people will change it up and do to borrow rhyme schemes. So a couple it and then a quatrain and then a couple it and then mix it up that way. Or do eight bars of the same rhyme scheme or even 16 bars of the same Ryan scheme, which we've seen before is well, and you can change it up that way now. The idea is that if you change up your rhyme scheme every four bars, at least then it's going to sound. You're gonna change up the sound of the pattern, right, because if you keep the same accidents the whole time for 16 bars, it can get quite boring to listen to. So if you change up the type of flow and by changing up the rhyme scheme, you're always going to change up the flow. Then that's going to create a little bit more contrast in depth of your tracks. That's essentially what this is. Hopefully that it was a quick understanding, but that's how you can structure your bars to make them, you know. On the professional level, Edison dry Makers 23. 4 Steps For a Deeper Sounding Rap Voice: Yes. Hello, Edison. Rye makers really excited to talk to you guys about one of my favorite things ever. As I dropped my lair rings down for a deeper boys here, um, four steps for a deeper sounding wrapped voice. I've always had a really high pitched voice just in general since I was younger, just something I was born with with the vocal chords and actually kind of an annoying voice because I was never getting enough breath. And it's something that I have struggled with for my entire life. I've always hated the way that my voice sounds on tracks, and it's really kept me from putting out music because I didn't like listening to my own music, which is incredibly frustrating because you really think you write some super dope lyrics and really cool, multi syllable rhymes. You got some awesome flows, but your voice just sounds so shitty, like I'm a complete nerd. Obviously, eso I study this stuff to see if I could try to improve it, and I have, and I want to show you some of the tips and where I got them from. Mostly, um, as I'm gonna move my ah face off of here, But this is Roger Love. He was M and M's vocal coach Tony Robbins, vocal coaches. Well, so definitely somebody to listen to. For sure. He talks about speaking and singing as well, and I've definitely read some of his books and taking his audio courses and done all of his vocal warm ups, and it's helped me immensely. I want to give you a couple key takeaways from some of the books and audio stuff that he's put out that I think actually applies to wrap Voice. And this is the Four Steps toe actually Make your voice a little bit deeper, Andi. Sound a little bit more resonant. True to yourself right now. I want toe preface this by saying sometimes when you do this technique, it's going to sound like dues. You know what? You know what it sounds like this that's going to sound shitty. You don't want to drop it down too much so that you're always talking at that lower level. But the more you practice this, the more your lair rings will naturally drop. Okay, I used to have a very, very high pitched voice. I still do, but I worked on it quite a bit, and it's come down quite a lot over the last couple of years, which is exciting for me. So if you wanted s so this is what I did. So step one, place your fingers on your Adam's apple, which is going to be right here. Some people, it will be a little lower. Some people will be a little higher. But this is the general look of your Adam's apple. You can see mines quite high compared to this gentleman right here. But yeah, going from your if you just move your finger back from your chin. I got a beard here, but you can actually find your Adam's. Apple is just that point sticking out. If you're a female, it's going to be a little bit more difficult for you to find your lair inks. But just know that it's usually in this place right here behind your Adam's apple. That's where your larynx is. Okay, so if you're ah, woman or a female or a girl, then you're going to find it back there. Okay, it'll be a little bit tougher for you to find, but you can still find the general area of your lair inks. Now what you're going to do is you're going to drop the back of your tongue as four down as it can go. Okay, like so the best way that I could describe this is if you do a fake yawn, so do a fake yawn with your hands still on your throat. You see my Adam's apple dropping their also behind the Adam's apple is the lair inks, and that's what controls the depth and the deepness of your voice. Okay, as well as the vocal chords and a bunch of other stuff as well. But this is something that you can actually manipulate, which is nice, because a lot of the other stuff you're just kind of born within its genetics. So this is something that you can change, and Morgan Freeman talks a lot about this about yawning. If you want a really deep voice, you've just yawn all the time and talk almost a ziff your yawning and it drops that Adam's apple down. But when it drops the Adam's apple down, it also drops. The layering is down. So when I dropped the Larry's down, you'll notice that it's a little bit of a crisper, deeper voice, and you need to make sure that you have enough air when you're speaking, you can already see that it sounds a little bit better. So that's step number to drop your tongue to the back of your to the bottom of your, uh, the bottom part of your mouth as far as it can go, and you'll notice that you feel that go this way, you can feel it moving. My beard is in the way, and now when you speak, you see a rise back up. But then when you drop it back down, it goes back down. So definitely practice with that. Now what you're going to do is they're gonna practice rapping with lair inks in this lower position. As you drop your tongue down, you're gonna practice rapping with your lyrics. In that lower position, you're gonna feel it naturally. Want to come back up and shoot back up into your actual like higher throat into your mouth almost if it's hitting higher than this point up here, like, for example, if I talking like this, it's really high up in my throat, and that's kind of what it sounds like. But if I drop it down and then a drop it down even further, it sounds a little bit better. Okay? You don't want to go too far so that you sound like Yo, yo, yo, yo, yo, I don't want to know what I'm talking you. That doesn't sound very good, right? You got to find that medium ground and find that natural position. But as you work on this, you can drop it down over time, it will have muscle memory. Your throat will remember where that lare inks wants to be. It's going to take a lot of time because your counter acting years and years of talking in that high pitched voice. So I just want to explain that to you, and hopefully that helps you out because it helped me out of fuckin ton. Now keep practicing and consistent short spurts. One thing that I want to tell you about is that you've got to be very cautious of your vocal cords and the actual, um you know the health of them, right? So I want to preface this whole thing by saying, make sure you drink a lot of water while you're doing this, don't do it all the time. Or else you're going to burn your vocal cords out and it's gonna really hurt your throat. Ah, lot. Okay, so be very cautious. Be very healthy. Drink some tea and honey stuff like that. Just take care of your vocal chords in your throat. Make sure your belly breathing, which we will get into actually in the next step, which we haven't covered yet. But that will be important as well. And I think this will really help you out. It's helped me out a ton in my wrapping experience and just enjoying my own voice when listening to myself talk. I would have never been able to record any of these videos, probably two years ago, because I hated the way my voice sounded. It was constant feedback I got on YouTube in all of my battle raps. So I've done like 16 battle raps with Kott in front of thousands of people and ah, lot of my first videos. In the comments, people were saying, Oh, God, he's dope. He's got really good lyrics. But his voice is so annoying, and it's a huge part of hip hop. I had no breath control. I had no, um, you know, my voice was super high Pitched all the time, So this should help you out for sure. Let me know if this does help you out. And again, Be careful with the health of your vocal cords. I want I don't want to be responsible for somebody really burning out their vocal chords. So I think this is super important to understand the health of it as well. But just give this a try in short spurts and let me know if this has helped you out. Edison Rye makers piece out guys and girls. 24. Breath Control and Belly Breathing: Yo, what's up? Everybody edits in at rye makers here. We're gonna go over the breath control for wrapping type section here. This is probably one of the most important section. So if you really hate your voice and you hate the way that it sounds over top of a beat or when you play your tracks that you record and you listen to yourself and you just cringe, this will definitely help you out for sure. Um, so we're gonna get right into it. No waste of time here. So the huge thing for breath control and rapids belly breathing, Um, and that's breathing with your diaphragm. A lot of people will breathe from their chest or their face or their neck almost on, and they don't get a very deep breath. Wim Hoff talks about this deep breathing technique, and you can really get that feeling of a complete, expanded breath when you use your diaphragm to breathe. This is the worst diagram for diaphragms, um, that I've ever seen, I think, but it does really get across the point of how it actually works. Now, when you're breathing in and you take a breath through your nose and you breathe in through your belly. What actually happens is the diaphragm. This is the diaphragm piece right here. Okay, um, and when you breathe in, it actually moves downwards towards your legs, okay? And as you breathe back out and moves back upwards, and that's what pushes the air back out. If you Kenbrell with using your diaphragm and controlling your diaphragm, you will always have more breath in your voice. And it will always sound deeper and fresher when you're speaking because you have more breath. That's what makes it sound better. If you've ever listened to somebody talk at the end of their breath, which I've always had this problem and something that I'm trying to work on continuously to this day. That's why I've studied this So much is it's It's called fried voice. So when you have no breath of the end of your voice, it sounds like this, and it's really annoying, and you breathe and talk and talk and talk and talk and talk and talk. And as you get to the end of your voice, it kind of sounds like you're just pushing out this voice that just has this weird fried edge. And it's just probably the most annoying thing you could ever hear from anybody. And if you're wrapping and you're doing that, then nobody's gonna want to listen to your voice at all. Um, it's super important to understand this. Um, and we're gonna go through four steps just to properly get adjusted to the diaphragm Nice and quickly. So step one is going to be Place your hand on your belly button. Okay, find where that is. And then step number two. You're gonna take a deep breath in from your nose and you're going to pretend that you were feeling a balloon in your stomach. Almost like you picture a Buddha belly. So when you're breathing in from your from your nose picture, just moving your stomach. You don't need to move your chest at all. Okay? If your chest is rising as you're breathing, then you're doing it wrong. See, my shoulders are moving there, so I'm not really doing it right. It's a little bit harder when you're sitting down, so if you're standing up, you really shouldn't put any strain on your chest, and your shoulders shouldn't be rising up like that's chest breathing. If you're breathing in your belly, you're breathing downwards downwards. You're pushing it down as you breathe in. It's really cool option, because when you breathe out, you have more breath in your voice, which actually gives it a clearer, more resonant sound. And when you breathe out, ah fluid exhale, you feel your stomach come back up into normal position. Do this, you know 10 times over and over again and feel the difference when you kick one of your verses. So if you have a verse ready to go, try kicking it without doing this, and then also try doing it. Do it 10 times. For example, before you're about to wrap and then kick your raps, you'll notice a massive difference in the sound of your voice on. And one of my favorite quotes from Morgan Freeman is if you want your voice to sound better , yawn a lot. This is a sweet tip, because when you're yawning, you'll notice that when you go to do a yawn, first of all, your Adam's apple drops where your lair inks will drop. Sorry, which will give you a deeper voice so you yawn. Yo yo yo yo um it gives you that deeper layer rings voice, but also, when you yawn your belly breathing, it goes deep into your stomach and really expands your diaphragm. So really great tip. For Morgan Freeman, there's no way he started out with that deep of a voice. Or that's resident deep sounding voice on and another really cool exercises called The Slow Leak. So I highly recommend you give this one a try. So take a huge breath from your nose, Philip that balloon in your stomach like and then hiss out. Do it for a long as you can and feel your stomach moving the whole time. So an example would be I can feel my stomach slowly rising back up as it slowly letting air go right. If you've ever looked at a balloon, and if it's full of air when you're slowly letting the air out, it is a you know, it's all, um, it sounds fine, right, But when there's right at the end of it, when there's almost no air, it'll start to have that farting sound that just isn't very attracted to listen to right. So the more air you have, the better sound you can produce. I think that really gets the point across. Um, and then this, attached with projecting your voice as well as having that deeper lair inks to your voice and being cautious of that as well, obviously is going to be really important for your rap, and it's gonna make you sound 10 times better. All right, Edison Rye Makers piece. 25. Wordplay basics Introduction: What's up, people? It's Edison for my makers dot com back here again and really excited to bring you guys the wordplay and punch line formula and template and everything you need to know about word play. I've been getting this requested a lot, so I'm really excited to make these videos, and I'm finally done them, so hopefully you guys will enjoy them. So this is for people that are looking for the total basics right now for wordplay. And I want to give you some hints to help you reach the full potential of that expert level and what that expert level concept looked like. So we're going to start with the word play basics. But then we're going to move into some of the more complicated processes at the end of this video. So don't skip this one, because at the end I'll be it'll build on top of each other like ladders, and then you'll get to the punch line one and it all makes sense for you, so just follow it along as we go. Um, and one thing that I wanted to tell people is that that they don't know is that there are a lot of different types of wordplay. Um, you know, there's not just one type of wordplay to use and wrap. There are a lot of crossovers, but what I can tell you is that there is once you build on everything that you that I show you here, you'll be able to do it without even thinking about it. Ah, which is great. So I'm gonna start with the very basics of the different types of wordplay that there are. It is only a couple different one, so I'm gonna show you. 26. Wordplay basics Homonyms: right now. So first off is Haman IMS. Okay, so, in linguistics A in the English language Ah hominem is ah one group of words that share the same spelling and pronunciation but may have different meanings. Okay, So examples of Haman IMS are eso there spelled the same and they have two different meanings. Okay, so some examples of those are left and left. They're both spelled exactly the same, but they have two completely different meanings. You could be left for dead, or you could turn left at the upcoming street. Same thing with master. You could master your craft or you could obey your master. There's two different types of meanings for those you could have sick and sick. You could be physically ill. Or you could be really sick at wrapping, right? You could have ah, broken hip. Or you could be trying to be hip and be cool. I don't think anybody says that anymore, but it is what it is. 27. Wordplay basics Homophones: Okay, That's the first basic type of wordplay. That's Ah hominem. It's spelt exactly the same, but they have two different meanings. You'll find the double meanings are the essence of wordplay in hip hop. But I'm gonna show you homophone Okay, Homophone is a slightly different variation of ah hominem. Okay, so they sound the same, but they're spelled different, and this can allow for even more wordplay in double meaning. So it's all just double meanings at this point. But these are the different types, and I want to show you the exact names. So you got blue and blue. So you have the color blue or you blew out the candle. You got Jekyll and Hyde or you got hide from that seventies show. Um, you know, that sucks it. He got caught for those charges or that he did that stuff, Hopefully didn't or you can hide from friends. Um, you can be bored or you can have a board game. They both sound the exact same board and board or rose you let like Derrick Rose or Rose. As in rows of people. These are spelled differently, but they sound exactly the same, which is going to lead us into our next concept, which 28. Wordplay basics Oronyms: is Oren IMs. Not a lot of people have heard of or names, but what they are are the exact They're essentially a pair of phrases or sentences that air pronounced similarly so you could have a whole sentence. That sounds exactly the same. Except they have two different meanings and often times. There's a lot of similar words. So, for example, ice cream and ice cream. They are not one word. It's a phrase ice cream, but they sound the same. It's that phonetic sound that makes it all the same. So stuffy nose. A lot of people know this one stuff he knows. And stuffy nose. Okay, um, Gladiator. And he's not glad he ate her. Okay, that's kind of one as well. We all know you tribe under failures. We all know you try, but our failures, they sound exactly the same. Okay, so but their full sentences now, you can break down full words into smaller meanings, okay? Or full phrases into smaller meanings. So that's an option for wordplay. It is one of my favorite, but not my favorite. My favorite is combining all of 29. Phraseplay & Idioms: play. And yes, I invented that word. It really is kind of stupid, but we're going to use idioms as an example if you haven't heard of an idiom. All in idiom is is a common phrase used in the English language. So some of them might be eye of the tiger. Or you're feeling light in the chest Or, um, you know, throw your hands up or break a leg or diamond dozen or you're on the hook for that. Okay, so that's all an idiom is is just a common phrase that we use in the English language. Now, there are more common phrases than idioms that people would say. So I you know, a lot of people say you're dopest fuck. You know, your your dope is shit stuff like that. These can all be used as well. You don't have to just use idioms. But idioms are a great place to start because a duelist out a lot of common phrases, and it's really good to go in and just like, see what you confined. Um, but here's what we're going to talk about when it comes to for some of these idioms. Um, so when you say your light in the chest. What does that mean? It means that you're feeling kind of winded. You know, your your you can't really breathe correctly. Um, it implies that somebody's giving you an anxiety attack, or you might be having a panic attack. Um, so when you say that someone's light in the chest, let's see your in a rap battle and you want to say Yo, your light in the chest That is a phrase that somebody would use. But then after they say, Yo, your light in the chest, they would say like Okay, you're light in the chest like something crazy. So, for example, light in the chest, What other things have light in the chest? Okay. Iron Man's suit has a light in his chest. Super cool. So I got you feeling light in the chest like Iron Man suit, right? I got you feeling light in the chest like the battery for Iron Man. Something like that, right? I got the eye of the tiger and I'm looking at ah, 100 women. Like like I got the eye of the tiger or something like that, Right, cause Tiger Woods, you know, he was getting on with a bunch of different women. M and M one of his favorite lines or one of my favorite lines from Eminem from his old CD Infinite was you couldn't make fans throw up their hands if they swallowed their fingers. You couldn't make fans throw up their hands if they swallow their fingers or you could break a leg, Um, or you could be on the hook. Um, you know, I'll let you off the hook because you can't sing Drake or something like that, like I don't know. So there's different options, but I'm gonna show you in the next video all the different punchline options that are available and how to form the perfect punchline formula so that you can actually use it. Um, Teoh put in battles or to put in different types of of, ah, distracts and stuff like that, or just used punch lines on your topic, ALS and and songs and stuff. It just adds a little bit of flair, but definitely go to the next video and watch some of that because we're going to incorporate this into an actual set up four and then a punchline. All right word. Edison at Rye Makers piece 30. Perfect Punchline Formula (edit): What up, Edison at rye makers dot com, Finally starting in on the punchline formula here. If you haven't done the wordplay basics, I suggest you go through that first because we're gonna have a bunch of stuff that leads into these advanced and complex concepts. So go through that. First, it breaks down all the different types of wordplay associated with the punch lines, and we're going to get started into talking about how to construct your punch lines, especially for battles and especially for distracts as well. So the first thing that we're going to start off with is defining what a punch line is. Okay, so what is a punch line? A punch line is the final part of a joke. Ah, comedy, sketch or a profound statement, and the word or sentence is intended to be funny, provoke laughter or thought from listeners. And in the context of a battle rap, you're essentially trying to get a reaction from your audience, and it can be a negative or a positive reaction. It depends on what you're going for. He's gonna be used in topical Z, but they can also be used in battles as well as distracts, and I've used him effectively myself, in all of the Kott battles have ever done. I've almost always used the same formula to set it up. But I do have another concept to introduce you to today. So, um, let's talk about the punchline in the in the concept of a rap battle. So in theory, usually a punch line is set up. Okay, if there's a set up of the audience expectations and you would use, like as or more than to emphasize a comparison to another subject matter, Um, and it has to be relevant to the wordplay that you used beforehand. I know that can sound a little bit wordy, but essentially all that means is there's a set up bar for your first bar. The second part, the second bar. The first portion would have the word play, and then the third part of the second bar would have your unexpected pun or exaggeration that differs from the audience's expectations. OK, but you can't have a funny punch line unless you have context for it. Or you can't have some type of word player punchline that's gonna affect the audience deeply unless there's a set up for it. There's got to be some sort of expectations, so you can use the whole first line for the set up of the expectations. It makes it easy, and then you can use, like as or more than to emphasize the comparison of the other topic. OK, so most punch lines you'll hear in rap used, like as or more than there's obviously exceptions. But we're going to stick with the top, like 80% that people use for now. So, um, let's take a look at some of the examples here. So, um, this is where we built onto the phrase place. So in terms of phrase, play ruined your dreams is an idiom essentially okay? It's a phrase. It's a common phrase use in the English language. If you want to just say, I've ruined your dreams to somebody and in the concept of a punch line, you would have to first of all, set it up. But then you would also have to come up with an option that would be unexpected for people . So I've ruined more dreams than alarm clocks. This is the more than example. I've ruined mawr dreams than alarm clocks Or you could say I've ruined mawr dreams than, um, you know Freddy Krueger or I've ruined mawr dreams than unexpected pun. Right? So, essentially what you're doing is you have a double meaning with the ruined more dreams, which is just a phrase that could be taken out of context or taken in any way that you want to manipulate it. Okay, um, but you want tohave an unexpected option. You do want to say I've ruined mawr dreams than you know? Um, something obvious. You want to make it exaggerated and kind of, you know, different to the to the listener. Um, now, let's look at the like or as option. So I'm staying one step above you like a pharmacist, right? So it's funny because you didn't expect that. You're saying I'm staying one step above you in the concept of rap in the context of wrapping, you're saying, Hey, look, I want to you know, I'm always one step ahead of you, or I'm always one step above you. You can't catch me kind of thing, right? But people don't expect for you to say like a pharmacist, because there's that one step where those pharmacists air standing on what you have to think and the way that you use your mind in these, you start with the phrase the phrase plays what we're talking about, staying one step above you. That is the portion that you want to use as the wordplay. Okay, that's the first part of the second bar. Almost always, you can twist it in different contacts. Play. It's honestly, that's what it's gonna be. Most of the time. It's almost the golden rule of hip hop, Um, but when you use a bar in this manner, you can use anything. If you want to be clever, don't use the 1st 3 things that come to your mind. Use the fourth thing or the fifth thing. The thing that's not obvious. You don't want to be cliche. Um, that's not what you want to accomplish. So I'm staying one step above you, right? Like a pharmacist is hilarious. I think that's awesome. And the only reason that's hilarious is because you would never expect somebody to say like a pharmacist. Okay, um, you can start with the subject matter, which is pharmacist, and then you can think. Okay, what? What? What is a pharmacist do. He's always one step above you. Um, you know, he's feeding you drugs. Um, you know, there's There's a lot of different things that a pharmacist could do that you can think of other idioms for, or you can reverse it backwards and say, You know what? What else is one step above you? You know, if there's, you know, there's I can't think of anything else for this exact ah scenario. But staying one step above you, you can think of what else is like that, and then you can use those options. Now let's look at the as options. So lines is sick. I got lions is sick. That's a double meaning. Essentially, it's also a phrase of people use. I got sick lines. You can say that, too. I got dope bars. You know, these air, not actual idioms in the English language, but their common phrases that people say You take those phrases and then you find double meanings within those phrases that people wouldn't expect. Okay, so I got sick lines like covert testing. I mean, that's ah, relevant topic. So if we were to think of a topic like Covad testing and we wanted to think of different possible phrase plays that you want to use on that current event than what you would do is he would say, OK, what else is is covert testing like, uh, you know, um, I'm up in your brain. I'm up in your brain like covert testing kind of something like that, right? So there's different options you can think of based off of the subject matter. Now, what I want to start you with is thinking about how you would structure this. Ah, yourself. So now you might be asking yourself, How do you come up with good punch lines, right? Not everybody can come up with the content matter or think of these weird double meanings that you're talking about right now. Eso I firmly believe that punch lines can be found in any number of references to create them. Okay, So what's going on in the world? Did someone famous die? What games came out lately? History TV, um, different references, pop culture, well known references, current events. Anything you can think of that is, you know, these type of well known concepts all right, because if it's something that's not well known to a wide audience. You'll find that it gets crickets a lot of the times, and people have no idea what the fuck you're talking about. And I have made that mistake plenty of times, Trust me. So don't do that one. You want to make it as relatable as possible to the general broad broader audience. Okay, so the first thing that you want to do is you want Teoh, identify your concept. Okay, So let's take, for example, if we wanted to take the let's pick an example off the top of the head. Jeffrey Epstein. Um, and he was killed in his prison cell. That's a general concept. That's Ah, that's an event. That's the concept. And that's what we're going to use to to develop this punch line. OK, that's what we want to pick. Okay, so we want to identify the potential phrase play based off of that subject matter. Okay, So what are some potential options that you could think of you could think of? Oh, Jeffrey Epstein was killed behind bars. Um, you know his video? There was no video of his suicide. Your videos less watched than Jeffrey Epstein, right? um or you could think of something to do with the sex ring that he has. It's like, Okay, well, he's trading sixteens. Why is that funny? Because sixteens can be used as, like, 16 bars. Right? So you have that double meaning there, but he's trading them. So you could say you trade mawr sixteens, you know, and we'll talk about how you could set that up. Okay, so we're gonna pick that option as our as our funny option. Okay, so you steal versus that your friends bring. So essentially this set up is whatever the you want to reinforce whatever the audience thinks you're going to be talking about we're talking about in the potential of biting bars , right? You're stealing lines from other people, which is a faux pas and hip hop. And it's always been talked about is biting. Um, So you want to set it up and say, Look, you're you're a biter. You're You know, you steal people's bars. This is the point. You want to get across. So you would say, Oh, you steal versus that. Your friends bring That's the set up. One full bar that would reinforce them. So you still versus at your friend spring, and then you trade mawr sixteens than Epstein Sex ring. Okay, that is a good bar, right? That's I mean, it's definitely politically incorrect, and some people are going to find it offensive. But it's gonna, you know, throw you for a loop and be like, Wow, that's really dope because there's some pretty cool wordplay. And why is there cool word plates? Because you actually use the full phrase instead of just one homophone or one hominem or one or in em. You've actually combined multiple phrases and taken that whole phrase and switched it around and then turned it into a diss against that person. So if you're making a distract, this is going to be this is literally what everybody does. So Eminem, Royce, you know J. Cole, even for his topic ALS and stories, he will do this hops in anybody you can think of that rights battle bars. These are This is exactly what they dio every single time. Um and I just want you to know that you can come up with these options. I have the workbook and the exercises attached to these videos so that you can go along and plug away. Let me know if you have any questions. Or if you have any issues trying to come up with these phrases or phrase play, I'll be answering questions one on one or just through my email. Edison at rye makers dot com Just hit me up whenever you get a chance. But yeah, I'm glad to bring this to you and let me know if this helps. All right, peace.