[Reflexion]

So now you've got the basics down and you wanna increase ya knowledge.. well you've come to the right place.

Advanced terms- Here are some things people may say which can confuse u so I'll try to clear some of that shit up.

Stretched lines/flow- This means that your lines are too long. A good indication of this is if you try to spit it to even a generously long beat and you can't get it in right. Power wording is often the best remedy.

Forced multies- This is when you can drop a line just so it can be a multie with the other things but doesn't seem to be natural or really fit with what you're trying to say. Example:

Presence make whores-cring-and-av's-smoke, 'knock' ya to 'door'-hinged-shellacked-oaks

It seems the multies used here were forced into being multies and don't quite fit together naturally if u can see.

>It's better to use something that isn't a multie and makes sense rather than forcing multies. Believe me, I know ahah.

Filler- This is basically when u drop a bar and the first line has absolutely nothing to do with the next or if some shit is just out of place with everything else. People normally have a filler if they are spitting freestyles in real life like "I told u my name's ___" or "I said I won't stop" or even "yo" which are useful to compose yourself and think of something quick next. If your starting out spitting freestyles, it is generally advisable to find a longer filler than 'yo' to give u sufficient amount of time to think of something else. In text, it is better if things connect, but fillers can be used once in a while as long as they're not abused. Filler:

this canadien fag tryin to be wanksta wearin a bandana from atlanta//
when he opens his mouth all his dick riders go bananas/(Zodiak)

the first and second line really have nothing to do with each other. Ex of connected:

so listen up Inf, if i can't show you ur wack, the voters'll
cuz ya know that ur fake... when ya sig is a 8 Mile quotable (Awe-dio)

> To be connected, it could be as simple as adding 'but' or 'cuz' to the second line and it makes a difference in the end.

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Advanced tools/methods- Some great ways to elevate/experiment.

Slant Rhymes- A VERY crucial thing to use/learn if you want to ever elevate. Imagine if you could only drop things that rhyme perfectly? Wouldn't that limit you so much? That is what slant rhymes are for. Slant rhymes are words that do not perfectly rhyme but can still pass as rhyming. Almost every hip hop track uses them and if ya didn't notice, there's ya proof that they sound good. Words like "this" and "bits" and "writs" and "kiss" and "ships" etc are examples of slant rhymes. Part of the word sounds that same. Now, this isn't any way to justify "rapper" and "punches" for example because they have nothing that sound alike. Again, some slant rhymes will sound better than others. You can use these as multies, inners or just at the end of your lines, but they are an excellent tool. Example (from verses):

"like 'spinal column tatoos,' ya just get on our nerves
another teen gangsta rapper...who lives in the burbs" -reflexion (me)

"nerves" doesn't perfectly rhyme with "burbs" but it sound very similar.

>Advice: USE SLANT RHYMES. They increase your versatility greatly and open up a whole new world of lines.

Diction- This is basically how you word what you're trying to say. Different wording will have different effects. Example:

"When Mode drops it's 'elderly judo', cuz the 'flippin is weak'
He couldn't leave his 'mark' in this forum if he 'came off a streak'" - reflexion (me)

it just wouldn't have that good of an effect if it was worded

"He couldn't leave his 'mark' in this forum if he 'came off a streak'
When Mode drops it's 'elderly judo', cuz the 'flippin is weak' "

it isn't as effective because it's not placed that well.. you can notice the difference in flow

>When you think something up, try arranging it differently and seeing what has the best effect.

Articulation - My biggest problem, but basically how a concept comes out. If you think of a punch for example and you want to use it, there can be ddifferent ways of putting it. This differs from diction because diction is the arrangement of your lines after you have them and articulation is the generation of how you put it. Example:

"my frees are endless, so i'll daze razor with flavour that's laser sharp
it's ironic that 'razorbrain' is one word... cuz razor and his brain are days apart" - razzle dazzle

see, the main concept is that 'razorbrain' has no 'brain' at all.. he could have said that "razor is far from his brain" or "why is brain in his name? it's clearly not there" or some other stuff like that, but it was worded specifically and went with a multi... it was also timed right. The point is, it was articulated very well.

>Try and find different ways to put what you're trying to say.. experiment and see which way has the best effect.

Call-backs- Rarely used in the forums, they should still be explained if people want to expand their arsenal.. People may not get them because they are a part of a more complex rhyme scheme. Basically, what call-backs are, is when the start of the first line rhymes the end of the second line, and the end of the first line rhymes the start of the second.... example:

Teachin a lesson, here's a mutha fuckin call-back
don't stall jack or u'll fall flat when i reach for the wesson - Awe-dio

> It may look weird, but if you try to actually rap call backs, they flow pretty well most of the time.

One-Line Rhymes- Used sometimes by some people, basically a line that doesn't rhyme with the next rhyme in a given bar. This could work nicely or badly in the flow depending on the style. Example:

"i'm the t-rex of this battle, this raptors trapped in my clapped jaws,
i smack inf, yeah i slap whores, blaze gats at this kats pores till his throwback splats on backboards, - Mode

As you can see, the second line is an independent rhyming line

>Again, it's up to you to experiment and see what suits YOU best

Meters/Stresses- People who have learned about poetry should be familiar with this.. and it does play a part in writing/recording rap. This is closely linked with flow and is basically different stresses in a word. Shakespeare used Iambic Pentameter, ex:

To BE or NOT to BE (weak STRONG weak STRONG weak STRONG)

While you do not have to know what an "iambic pentameter" is or how they play out wholly in a verse, it's important to be aware of them. Sometimes you can write something and it just doesn't sound right.. it looks ok on paper but it doesn't really flow. It's usually because of the way the stresses play out. It's hard to explain and I can't think of an example right now, but just notice it, especially on your end rhymes and change is if you don't think it sounds right.

Presence- Talking strictly in text, this is the mood that you come off in and invoke. This can either be 'hard' or 'soft' or 'serious' or 'funny,' etc. It's important to stay consistant with your tone or your verse chemistry won't sound right. Mostly coming hard will give you extra points, but only if you have the lines to back it up. If your verse is half "fucking" and "mother fucker" and "bitch" then you better have some good lines or you'll just look like an angry newb. Excessive swearing is not coming hard either, it's mostly cleverness and positioning of your verse.

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I've used a lot of my own examples here, but it's really because I'm more familiar with what I write. I do not profess to be 'advanced' or even really good, but I do know a bit about how this stuff works.

Any questions/comments can go in this thread.

-reflexion aka !nfinitE_

[Insayne]

Ahhhh I see lol... dope guide, u even cleared up stuff I didn't actually know, thx man---- respeck LOL