Okay, hopefully I'm not repeating myself here, but we're going to 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 and unstressed syllables. Again, hopefully this isn't, you know, beating a dead horse or whatever.

But 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 rap is 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 stress 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 debt. In contrast in your vs. Okay, so for example, when you say the word one, that's a stress syllable. So when you count out the beat 1234, you're dropping stress 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 are in the pocket.

So you can say one to the two to the three to the four, or one, two to the 3412 to the two to the two, three to the 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. Okay, 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 frick you want. You can mumble or gibberish in between them, it doesn't really matter. But that's what's going to be your flow, right. That's what you're going to develop, but for practice We can put unstressed syllables in between, right so when you're saying 1234, you can say one and two and three and four, one and two and three and four, or you can go one to the two to the three to the four, because the two 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 beat. 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 stress syllable. So how to make so how to make is the how and the make our stress syllable.

So how to make words, right, you can, you can still have stress syllables in between them, right, but you need to make sure that when that two or three or four beats comes that you have another stress 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, you're really hitting that four beat hard, you can't miss that four be the one and the four beat are the two most important beats to hit, because that's what sets the foundation have the track. And that's what sets the foundation of the structure. And that's why when you sound off flow, when you're not hitting those beats, with stress syllables, you're gonna sound super off flow and choppy. And that's why rappers suck. That is why they're missing all of the dope flows and stuff and patterns and things like that.

They're just saying their lyrics overtop of a beat and not understanding how to craft their words so that the stress syllables land on top of each of those beats, that's all hip hop is and that's all dope 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 sorry, if I'm doing Getting a little too excited, but that's what I really nerd out over a super word nerds. 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 rainmakers Peace out.