How To Rap
Rather if you are a beginner or an advanced veteran at rapping, these tips will help to improve almost any rapper who is interested in knowing how to rap and how to sharpen his or her skills at becoming a great rap artist. Learning how to rap may come easy to some artist but for some it may also be one of the biggest challenges they have to face. some say it's an art, and others say it something you have to grow into. So here at BBV we have found 8 sample tips from The Complete MC Full Product Version by MC Monologue to breaks down and explains the basic as well as how to go from learning how to rap, to becoming a great rap artist.
Tip 1: The Power of Rhyme Chords
To master freestyling you must recognize your sources of inspiration, whether it’s inside a room
or inside your head. Understanding how to switch tempos and develop rhyme progressions will
dramatically advance your skill level.
Emcees are worthless without rhymes. It goes to show that the more rhymes you have the more
adaptable you are in a freestyle (not to mention a song). To develop your skills quickly, you must
have rhyme schemes memorized so you can focus on what you’re saying without worrying about
how to rhyme it.
Think of rhyme schemes like chord progressions on a guitar. Many guitar players memorize
chord progressions and then add their own flavor into them; they aren’t concerned about every
single strum. The same can be said for freestyling; once you have numerous rhyme progressions
to build on, you’ll sound like a professional.
Exercise
To increase your rhyme progressions, pick five simple words that don’t rhyme.
Example: Cat, Show, Line, See, Paper
Now look up four rhymes for each of these five words using a rhyme dictionary.
The Complete MC Full Product Version comes with rhyming dictionary software
to increase your vocabulary and save you time. You should now have a total of
25 words. Example:
Cat: Bat, Hat, Mat, Sat
Show: Flow, Blow, Toe, Pro
Line: Mine, Shine, Pine, Sign
See: Me, He, She We
Paper: Caper, Taper, Draper, Vapor
Now, use these words as your rhymes to freestyle for one minute. Be sure to time
it. The purpose is to memorize these rhymes so you never have to think about
them again.
Do this exercise whenever you are freestyling or in the middle of a session. If you
practice five times a day, you are adding 25 rhyme progressions to memory for a
total of 125 words each day. While practicing five times a day may sound like a
lot, it really isn’t. You already know these words; you are just memorizing the
relationship between them.
If you watch a professional in a battle, they will often predict the rhyme their opponent is using
toward them. That’s because they know the progression. This is the position you want to be in:
one step ahead.
or inside your head. Understanding how to switch tempos and develop rhyme progressions will
dramatically advance your skill level.
Emcees are worthless without rhymes. It goes to show that the more rhymes you have the more
adaptable you are in a freestyle (not to mention a song). To develop your skills quickly, you must
have rhyme schemes memorized so you can focus on what you’re saying without worrying about
how to rhyme it.
Think of rhyme schemes like chord progressions on a guitar. Many guitar players memorize
chord progressions and then add their own flavor into them; they aren’t concerned about every
single strum. The same can be said for freestyling; once you have numerous rhyme progressions
to build on, you’ll sound like a professional.
Exercise
To increase your rhyme progressions, pick five simple words that don’t rhyme.
Example: Cat, Show, Line, See, Paper
Now look up four rhymes for each of these five words using a rhyme dictionary.
The Complete MC Full Product Version comes with rhyming dictionary software
to increase your vocabulary and save you time. You should now have a total of
25 words. Example:
Cat: Bat, Hat, Mat, Sat
Show: Flow, Blow, Toe, Pro
Line: Mine, Shine, Pine, Sign
See: Me, He, She We
Paper: Caper, Taper, Draper, Vapor
Now, use these words as your rhymes to freestyle for one minute. Be sure to time
it. The purpose is to memorize these rhymes so you never have to think about
them again.
Do this exercise whenever you are freestyling or in the middle of a session. If you
practice five times a day, you are adding 25 rhyme progressions to memory for a
total of 125 words each day. While practicing five times a day may sound like a
lot, it really isn’t. You already know these words; you are just memorizing the
relationship between them.
If you watch a professional in a battle, they will often predict the rhyme their opponent is using
toward them. That’s because they know the progression. This is the position you want to be in:
one step ahead.
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Tip 2: Developing Rhyme Multi-Syllables
If you want to make more impressive rhymes schemes, try using multi-syllable rhymes. For
example, you have four words that rhyme with “line” and four words that rhyme with “show”,
put them together and see what you come up with.
Example: “My rhyming flow and lines will show divine control from the mind and soul…”
The words that rhyme with “line” are divine and mind. The words that rhyme with “show” are
flow, control, and soul. Multi-syllable rhymes are a little more difficult to use, but once you get
the hang of it, you’ll be developing multi-syllable rhymes without even realizing it. Try listening
to or reading your favorite rap artist’s lyrics and see all the multi-syllable rhymes they use.
Exercise
When you have an idea for a verse, pick two words that don’t rhyme. Using the
rhyming dictionary included in The Complete MC full product version, add
several words that rhyme with your original two. Once you have a list of ten
words or so, pair them up in a way that you find interesting. Now, when you
begin to write a verse (or freestyle) you already have several multi syllable
rhymes built in.
example, you have four words that rhyme with “line” and four words that rhyme with “show”,
put them together and see what you come up with.
Example: “My rhyming flow and lines will show divine control from the mind and soul…”
The words that rhyme with “line” are divine and mind. The words that rhyme with “show” are
flow, control, and soul. Multi-syllable rhymes are a little more difficult to use, but once you get
the hang of it, you’ll be developing multi-syllable rhymes without even realizing it. Try listening
to or reading your favorite rap artist’s lyrics and see all the multi-syllable rhymes they use.
Exercise
When you have an idea for a verse, pick two words that don’t rhyme. Using the
rhyming dictionary included in The Complete MC full product version, add
several words that rhyme with your original two. Once you have a list of ten
words or so, pair them up in a way that you find interesting. Now, when you
begin to write a verse (or freestyle) you already have several multi syllable
rhymes built in.
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Tip 3: Increasing Your Freestyle Power
Your brain is the most powerful tool in your freestyle arsenal. Learn to bring your mind to full
attention during a freestyle by looking up. Yes, we said looking up.
When you look up with your eyes as if you were looking into your brain, you access two very
important parts of your mental faculties: recollection and creativity. Interrogators have known
for years that when someone looks up and to the right while they are talking, it’s probably a lie.
This is because they are accessing their creative part of the brain; sucks for them, great for an
emcee. If you look up and to the left you are accessing your memory, which is vital to
vocabulary recollection.
Practice this technique a couple times a week to get the hang of it. Be sure to remember to look
to the left for recollection or memory and to the right for creativity.
attention during a freestyle by looking up. Yes, we said looking up.
When you look up with your eyes as if you were looking into your brain, you access two very
important parts of your mental faculties: recollection and creativity. Interrogators have known
for years that when someone looks up and to the right while they are talking, it’s probably a lie.
This is because they are accessing their creative part of the brain; sucks for them, great for an
emcee. If you look up and to the left you are accessing your memory, which is vital to
vocabulary recollection.
Practice this technique a couple times a week to get the hang of it. Be sure to remember to look
to the left for recollection or memory and to the right for creativity.
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Tip 4: Strengthening Your Flow
What exactly is “flow?” It is, simply put, the continuous vocal quality of your voice. If you start
and stop during a verse, you essentially have no flow. You must develop this quality to draw
listeners in.
Exercise
Play a beat without any lyrics. If you don’t have any beats, The Complete MC
full product version contains over 25 beats for you to practice and record with.
Practice freestyling over the beat and go as long as you can without stopping to
breathe. Don’t worry about rhyming; you can just as easily “doo whap” your
way through the exercise. The focus should be on developing sounds that connect
with each other and the beat.
Now, try rapping in different accents: English, French, Middle Eastern, Jamaican,
whatever. You may laugh, but look at Slick Rick.
When you freestyle with others, focus on lyrics. When you freestyle alone, focus
on flow. When you are comfortable with both, try incorporating them together.
Listen to a musician improvising, and you’ll notice their ability to change pitch,
speed and emotions. The same goes for great speakers: start slow and build speed
and volume as excitement builds.
Preachers have flow. So do actors. Anytime you get in front of someone you are battling for their
attention. Monotone doesn’t work (except, maybe, for Ben Stein). Remember the big three
aspects VET’s change to strengthen their flow: Volume, Emotion, and Tempo.
Exercise
Practice rapping different tempos. The most effective way is to take a very simple
beat (even clapping your hands will do), and keep tempo with your voice. Don’t
worry about words, just make sounds that keep the beat. Think Chevy Chase in
Caddyshack: “Nu nu nu nu nu nu nu nu nu nu…”
Now, make the same noise but half as fast: “nu…nu….nu…”
Once you are comfortable, try to incorporate words that fit into both speeds.
Don’t get down on yourself if you slip; the important part is to keep the beat. As
your rhyme progressions grow it will be easier for you to fill these speeds.
When you are ready for more advanced techniques, check out The Complete MC full product
version at www.TheCompleteMC.com.
and stop during a verse, you essentially have no flow. You must develop this quality to draw
listeners in.
Exercise
Play a beat without any lyrics. If you don’t have any beats, The Complete MC
full product version contains over 25 beats for you to practice and record with.
Practice freestyling over the beat and go as long as you can without stopping to
breathe. Don’t worry about rhyming; you can just as easily “doo whap” your
way through the exercise. The focus should be on developing sounds that connect
with each other and the beat.
Now, try rapping in different accents: English, French, Middle Eastern, Jamaican,
whatever. You may laugh, but look at Slick Rick.
When you freestyle with others, focus on lyrics. When you freestyle alone, focus
on flow. When you are comfortable with both, try incorporating them together.
Listen to a musician improvising, and you’ll notice their ability to change pitch,
speed and emotions. The same goes for great speakers: start slow and build speed
and volume as excitement builds.
Preachers have flow. So do actors. Anytime you get in front of someone you are battling for their
attention. Monotone doesn’t work (except, maybe, for Ben Stein). Remember the big three
aspects VET’s change to strengthen their flow: Volume, Emotion, and Tempo.
Exercise
Practice rapping different tempos. The most effective way is to take a very simple
beat (even clapping your hands will do), and keep tempo with your voice. Don’t
worry about words, just make sounds that keep the beat. Think Chevy Chase in
Caddyshack: “Nu nu nu nu nu nu nu nu nu nu…”
Now, make the same noise but half as fast: “nu…nu….nu…”
Once you are comfortable, try to incorporate words that fit into both speeds.
Don’t get down on yourself if you slip; the important part is to keep the beat. As
your rhyme progressions grow it will be easier for you to fill these speeds.
When you are ready for more advanced techniques, check out The Complete MC full product
version at www.TheCompleteMC.com.
Www.7FLowBeatz.Blogspot.Com
Tip 5: How to Win Battles
Your opponent is not there to make you look stupid. Your opponent is not concerned with how
you feel. Your opponent is there to win. Keep this in mind at all times. The moment you take a
battle personally, defeat is inevitable. Your opponent is nothing more than a tool for you to use
to win the crowd. Your energy should be directed towards both.
Different Styles of Battle
There is a spectrum that all battle emcees fall on; discover where they lie and you will know how
they can be defeated.
Punch Line Artist << ---------------------------------------------- >> Crowd Rockers
Assessing Your Own Skills
Where do you fall on the spectrum? This is really a two part question:
1. Do you go for punch lines or the crowd?
2. Are you any good at it?
I’ve known a guy for years who uses strictly punch lines. The problem is that while some of
them are pretty funny, he has no style whatsoever. It’s like watching someone play “The
Dozens”; he’s not rapping, he’s talking. His win percentages would be through the roof if he
took some time to develop a style.
The same is true for crowd rocking. Do you actually get the crowd moving, or are they just
waiting to watch you get killed on stage? Both of these approaches can be effective, but only if
you master them.
Take a moment and ask yourself those two questions. Be honest. Is your battle technique strong
in one area, but deficient in another?
Now that we have discussed the different approaches in battle, I’ll show you a master technique:
Use both ends of the spectrum simultaneously to destroy your opponent through the use of props.
If you watch the classic battle between MC Supernatural and Juice, you’ll see how Supernatural
used a poster on the wall to win. First, he pretended the paper was a picture of Juice as he ripped
it off the wall; second, he showed the image of the letter S to the crowd and hurled punch lines
that began with “S”. He closed the battle saying “Juice, you’re Slipping/and your name I’m
ripping”. Incredible.
This is an unbeatable technique. He effectively tied in punch lines, props and crowd rocking in
one round of battle. Think of each segment as territory in war; if you hold all the key positions
you win. If you don’t…
Exercise
Develop Supernatural like abilities. As you practice your battles, make a
conscious effort to tie in crowd rocks, punch lines and use of props. Mastery of
these three will take you to a black belt level in no time.
you feel. Your opponent is there to win. Keep this in mind at all times. The moment you take a
battle personally, defeat is inevitable. Your opponent is nothing more than a tool for you to use
to win the crowd. Your energy should be directed towards both.
Different Styles of Battle
There is a spectrum that all battle emcees fall on; discover where they lie and you will know how
they can be defeated.
Punch Line Artist << ---------------------------------------------- >> Crowd Rockers
Assessing Your Own Skills
Where do you fall on the spectrum? This is really a two part question:
1. Do you go for punch lines or the crowd?
2. Are you any good at it?
I’ve known a guy for years who uses strictly punch lines. The problem is that while some of
them are pretty funny, he has no style whatsoever. It’s like watching someone play “The
Dozens”; he’s not rapping, he’s talking. His win percentages would be through the roof if he
took some time to develop a style.
The same is true for crowd rocking. Do you actually get the crowd moving, or are they just
waiting to watch you get killed on stage? Both of these approaches can be effective, but only if
you master them.
Take a moment and ask yourself those two questions. Be honest. Is your battle technique strong
in one area, but deficient in another?
Now that we have discussed the different approaches in battle, I’ll show you a master technique:
Use both ends of the spectrum simultaneously to destroy your opponent through the use of props.
If you watch the classic battle between MC Supernatural and Juice, you’ll see how Supernatural
used a poster on the wall to win. First, he pretended the paper was a picture of Juice as he ripped
it off the wall; second, he showed the image of the letter S to the crowd and hurled punch lines
that began with “S”. He closed the battle saying “Juice, you’re Slipping/and your name I’m
ripping”. Incredible.
This is an unbeatable technique. He effectively tied in punch lines, props and crowd rocking in
one round of battle. Think of each segment as territory in war; if you hold all the key positions
you win. If you don’t…
Exercise
Develop Supernatural like abilities. As you practice your battles, make a
conscious effort to tie in crowd rocks, punch lines and use of props. Mastery of
these three will take you to a black belt level in no time.
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Tip 6: Vocal Exercises
We’ve included exercises 6, 7, and 9 from the 14 vocal exercises included in the full version of
The Complete MC.
• Exercise 6: Put your tongue against your bottom teeth, and try to push your jaw forward
with your tongue. Keep your hand against your jaw, and don’t let it move forward.
• Exercise 7: Release your tongue and gently push your jaw towards you. As you do so,
yawn several times. You should feel a nice stretch in the back of your neck. Repeat
several times.
• Exercise 9: Inhale deeply. As you exhale make two sounds; on the first half hum as if
you were saying “In” while on the second half say “aaahhh”. Repeat four times.
All 14 exercises should be done prior to every performance, including freestyles and battles. Do
this routine for two weeks and you will notice your voice is more open, honest and powerful.
The Complete MC.
• Exercise 6: Put your tongue against your bottom teeth, and try to push your jaw forward
with your tongue. Keep your hand against your jaw, and don’t let it move forward.
• Exercise 7: Release your tongue and gently push your jaw towards you. As you do so,
yawn several times. You should feel a nice stretch in the back of your neck. Repeat
several times.
• Exercise 9: Inhale deeply. As you exhale make two sounds; on the first half hum as if
you were saying “In” while on the second half say “aaahhh”. Repeat four times.
All 14 exercises should be done prior to every performance, including freestyles and battles. Do
this routine for two weeks and you will notice your voice is more open, honest and powerful.
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Tip 7: Brainstorming For Songwriting
In order to effectively brainstorm, you must develop a process to generate associations around a
concept (such as “cold”). Once these associations are made (snow, ice, winter) you can begin to
build rhyme patterns off them (go, nice, splinter). Using this method you will have a dynamic
song outline within ten minutes.
Let’s give it a go. If “cold” is your concept, begin by using the thesaurus to generate
associations. You could talk about a lover gone cold, or getting a cold, cold calling, etc.
Here are words that I found that are related to “cold”: apathetic, cold-blooded, cool, dead,
distant, emotionless, frigid, frosty, glacial, icy, impersonal, imperturbable, indifferent, inhibited,
inhospitable, joyless, lukewarm, matter-of-fact, passionless, phlegmatic, reserved, reticent,
spiritless, standoffish, stony, unconcerned, undemonstrative, unenthusiastic, unfeeling,
unimpassioned, unmoved, unresponsive
I personally like the word “stony.” It conjures up images of a frozen fortress of stone. We can
use this as a metaphor for someone who has gone cold on us. Let’s look up fortress:
Here are words that I found that are related to “fortress”: barrier, bastion, buffet, buttress,
citadel, defense, embankment, fort, fortress, guard, mainstay, outwork, parapet, partition,
protection, rampart, redoubt, safeguard, security, stronghold, support, wall
Now, we need to look up rhymes for some of these words in order to build up our rhyme
progressions.
• “citadel”: sit and dwell, think in cell, living well, admit it sells, it’s a spell
• “safeguard”: play hard, race card, today sparked, say it’s harsh, grave in marsh
• “stronghold”: strong bow, a long fold, strong foe, gone cold, wrong so
• “unmoved”: some groove, some lose, one whose, fun to choose, some news
• “glacial”: spatial, facial, disgraceful, graceful, face full
As you look at these words you begin to get a sense for how this song will work. I see medieval
characters attempting to storm a fortress as a metaphor for someone trying to break through
someone’s defenses and capture their heart. Phrases like strong bow, citadel, unmoved, glacial
and gone cold all add to this imagery. Use this exercise to generate concepts for songs in record
time.
concept (such as “cold”). Once these associations are made (snow, ice, winter) you can begin to
build rhyme patterns off them (go, nice, splinter). Using this method you will have a dynamic
song outline within ten minutes.
Let’s give it a go. If “cold” is your concept, begin by using the thesaurus to generate
associations. You could talk about a lover gone cold, or getting a cold, cold calling, etc.
Here are words that I found that are related to “cold”: apathetic, cold-blooded, cool, dead,
distant, emotionless, frigid, frosty, glacial, icy, impersonal, imperturbable, indifferent, inhibited,
inhospitable, joyless, lukewarm, matter-of-fact, passionless, phlegmatic, reserved, reticent,
spiritless, standoffish, stony, unconcerned, undemonstrative, unenthusiastic, unfeeling,
unimpassioned, unmoved, unresponsive
I personally like the word “stony.” It conjures up images of a frozen fortress of stone. We can
use this as a metaphor for someone who has gone cold on us. Let’s look up fortress:
Here are words that I found that are related to “fortress”: barrier, bastion, buffet, buttress,
citadel, defense, embankment, fort, fortress, guard, mainstay, outwork, parapet, partition,
protection, rampart, redoubt, safeguard, security, stronghold, support, wall
Now, we need to look up rhymes for some of these words in order to build up our rhyme
progressions.
• “citadel”: sit and dwell, think in cell, living well, admit it sells, it’s a spell
• “safeguard”: play hard, race card, today sparked, say it’s harsh, grave in marsh
• “stronghold”: strong bow, a long fold, strong foe, gone cold, wrong so
• “unmoved”: some groove, some lose, one whose, fun to choose, some news
• “glacial”: spatial, facial, disgraceful, graceful, face full
As you look at these words you begin to get a sense for how this song will work. I see medieval
characters attempting to storm a fortress as a metaphor for someone trying to break through
someone’s defenses and capture their heart. Phrases like strong bow, citadel, unmoved, glacial
and gone cold all add to this imagery. Use this exercise to generate concepts for songs in record
time.
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Tip 8: Rhyme Transcription
Rhyme structures are the backbone of rap. There is a language to rhyme transcription; once you
get it down you can emulate other emcees, and even create some new ones. In order to transcribe
a verse you have to add a letter to every rhyme. If the word rhymes with an earlier word it has
the same letter.
Example:
Mary had a little lamb (A)
Whose fleece was white as snow (B)
Everywhere that Mary went (C)
The lamb was sure to go (B)
Notice how each line fails to rhyme with anything before it, so it gets a new letter. The fourth
rhymes with the second, so it receives the same letter.
Exercise
Look at the following verse and transcribe it:
My last day as lie upon my death bed
Counting back ways, in which I felt no contentment
Wanted to create, but was afraid and just suppressed it
My mind glazed began to think that it’d be best to let
My aspirations fade away and just accept it
The truth I face came all too unexpected
I was betrayed by every single little second
Instead of great now I’ve just become complacent
I lie awake, afraid my life had no purpose
Lifetime of days and not a single one was even worth it
This is how it should look:
My last day (A) as lie upon my death bed (B)
Counting back ways (A), in which I felt no contentment (B)
Wanted to create (A), but was afraid and just suppressed (B) it
My mind glazed (A) began to think that it’d be best to let (B)
My aspirations fade (A) away and just accept it (B)
The truth I face (A) came all too unexpected (B)
I was betrayed (A) by every single little second (B)
Instead of great (A) now I’ve just become complacent (B)
I lie awake, afraid (A) my life had no purpose (C)
Lifetime of days (A) and not a single one was even worth it (C)
If you are transcribing just the end of every line, it should be (B) all the way down until the last
two lines. These final lines shake the listener, who has grown used to the rhyme, and drives the
point home “life had no purpose/ not… even worth it.”
Now look at the internal rhyme pattern. The middle of every line has a hard “A” sound (“my last
day… counting back ways…truth I face…wanted to create…”). This gives the verse a sing song,
methodical quality, and goes great with the imagery: we can actually feel the old man pacing
back and forth as he muses over the decisions in his life.
This is great songwriting. The form follows the function, and the use of two rhyme structures in
the same verse demonstrates a strong flow throughout. When you write a verse ask yourself:
what am I trying to say in this piece and how can I structure the song to help say it? If there is a
lesson to be learned in your verse (and their should be!), try to break up the rhyme pattern to
highlight the lesson, like the last two lines of this example.
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get it down you can emulate other emcees, and even create some new ones. In order to transcribe
a verse you have to add a letter to every rhyme. If the word rhymes with an earlier word it has
the same letter.
Example:
Mary had a little lamb (A)
Whose fleece was white as snow (B)
Everywhere that Mary went (C)
The lamb was sure to go (B)
Notice how each line fails to rhyme with anything before it, so it gets a new letter. The fourth
rhymes with the second, so it receives the same letter.
Exercise
Look at the following verse and transcribe it:
My last day as lie upon my death bed
Counting back ways, in which I felt no contentment
Wanted to create, but was afraid and just suppressed it
My mind glazed began to think that it’d be best to let
My aspirations fade away and just accept it
The truth I face came all too unexpected
I was betrayed by every single little second
Instead of great now I’ve just become complacent
I lie awake, afraid my life had no purpose
Lifetime of days and not a single one was even worth it
This is how it should look:
My last day (A) as lie upon my death bed (B)
Counting back ways (A), in which I felt no contentment (B)
Wanted to create (A), but was afraid and just suppressed (B) it
My mind glazed (A) began to think that it’d be best to let (B)
My aspirations fade (A) away and just accept it (B)
The truth I face (A) came all too unexpected (B)
I was betrayed (A) by every single little second (B)
Instead of great (A) now I’ve just become complacent (B)
I lie awake, afraid (A) my life had no purpose (C)
Lifetime of days (A) and not a single one was even worth it (C)
If you are transcribing just the end of every line, it should be (B) all the way down until the last
two lines. These final lines shake the listener, who has grown used to the rhyme, and drives the
point home “life had no purpose/ not… even worth it.”
Now look at the internal rhyme pattern. The middle of every line has a hard “A” sound (“my last
day… counting back ways…truth I face…wanted to create…”). This gives the verse a sing song,
methodical quality, and goes great with the imagery: we can actually feel the old man pacing
back and forth as he muses over the decisions in his life.
This is great songwriting. The form follows the function, and the use of two rhyme structures in
the same verse demonstrates a strong flow throughout. When you write a verse ask yourself:
what am I trying to say in this piece and how can I structure the song to help say it? If there is a
lesson to be learned in your verse (and their should be!), try to break up the rhyme pattern to
highlight the lesson, like the last two lines of this example.
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