16s and bar count

KOOL-AID

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3 more bars for a 16 my g

I think you can hear it too,

"I'm still a joker I bang on the queen
1-2-3-4 1-2-3
1-2-3-4 1-2-3
1-2-3-4........1-2-3!
BOUNCEBOUNCEBOUNCEBOUNCE
CHORUS CHORUS CHORUS CHORUS
"

I'm not a trap/drill rapper but if I was producing I'd have you amp up on those final three bars and have you yell the last three words to intro the hook. Y'feel me?

"I'm still a joker I bang on the queen
Still smoke blunts don't fukk with lean
Cash Rules everything making C.R.E.A.M
I love my crew dog *pause for effect* fukk YO TEAM!
bouncebouncebouncebounce"

Crowd goes nuts,
White bytches yelling "fukk yo team" as if they've ever even seen a real gang banger
aww ok i aint finish cuz i ust wanted to give an example so i aint do the whole 16, plus i wanted to make sure i was doing it right. how does rappin against the beat work, cuz for most songs i start a freestyle first without takin in working within the beat. when i go to revisit shld i make the lyrics work into the beat or can i mix and match it. also the same with switchin flows do they have to be within the beat or like i said can I mix and match to create my unique sound?
 

GPBear

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aww ok i aint finish cuz i ust wanted to give an example so i aint do the whole 16, plus i wanted to make sure i was doing it right. how does rappin against the beat work, cuz for most songs i start a freestyle first without takin in working within the beat. when i go to revisit shld i make the lyrics work into the beat or can i mix and match it. also the same with switchin flows do they have to be within the beat or like i said can I mix and match to create my unique sound?

switchin flows/making it unique etc etc

but it's all rhythm with words and cacs have been writing music for so long that any rhythm you spit has already been described by some dude in a book on rhythm.

16th note triplets homie, that's all I can say. I'm not a spitter, all I can say is 16th note triplets...most beats use quarter notes (quarter = 1/4) so putting triplets over that (1/3) you make african polyrhythms.

3:2. Or latin samba y'know. White people like hypnotic 4 on the flour unce-unce-unce house music right?
Well other cultures aren't bland goofs, so they like 3 over 2s and shyt.
That's how African tribes can have an entire village playing drums at once. One group of kids holds the tempo. Then older people do the more complex 3 shyt.

In latin/Caribbean countries, the first bar is 3 (or 2) and the second bar is 2 (or 3). kids will hold down the beat usually on a cowbell or something while the older men will do the polyrhythm. 3:2 in samba is called the "clave" which is spanish for "key". It's why jazz musicians have a hard time playing samba. Jazz you nod your head up and down. Samba is more side to side swing.
 

KOOL-AID

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switchin flows/making it unique etc etc

but it's all rhythm with words and cacs have been writing music for so long that any rhythm you spit has already been described by some dude in a book on rhythm.

16th note triplets homie, that's all I can say. I'm not a spitter, all I can say is 16th note triplets...most beats use quarter notes (quarter = 1/4) so putting triplets over that (1/3) you make african polyrhythms.

3:2. Or latin samba y'know. White people like hypnotic 4 on the flour unce-unce-unce house music right?
Well other cultures aren't bland goofs, so they like 3 over 2s and shyt.
That's how African tribes can have an entire village playing drums at once. One group of kids holds the tempo. Then older people do the more complex 3 shyt.

In latin/Caribbean countries, the first bar is 3 (or 2) and the second bar is 2 (or 3). kids will hold down the beat usually on a cowbell or something while the older men will do the polyrhythm. 3:2 in samba is called the "clave" which is spanish for "key". It's why jazz musicians have a hard time playing samba. Jazz you nod your head up and down. Samba is more side to side swing.
lol bro u gotta post examples with what u sayin i'm a sensory learner, i get what u saying but to understand the logic n whatnot i gotta have something to grasp on. im dat way with anything. but imma meake a note of this shyt u been a good teacher respect. also cld u expalin the terminologis and stuff- 3:2, 1/3 etc
 

GPBear

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lol bro u gotta post examples with what u sayin i'm a sensory learner, i get what u saying but to understand the logic n whatnot i gotta have something to grasp on. im dat way with anything. but imma meake a note of this shyt u been a good teacher respect. also cld u expalin the terminologis and stuff- 3:2, 1/3 etc

Nah aight. I'll be honest you're not gonna understand this today no matter what I say, because to really get it you need to just clap out "1-2-3-4" with one hand and "1-2-3" with the other, it's a little like juggling, it's really hard to get your brain to do it. Just takes practice. But one day you'll just be able to do it.

So:

3_over_2.png

1-2-3/1-2-3/
1-2/1-2/1-2/

See how the /, the end of the bars aren't lining up until the last note. Then it repeats? That adds dynamics. In practice it sounds like this,
https://upload.wikimedia.org/wikipe...theora.ogv/Polyrhythm3c2.theora.ogv.480p.webm
 

GPBear

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Examples of "hemiola" aka 3/2 polyrhythm in music:



See how dude on the right is just clicking along on a cowbell thing. Other dudes start doing some shyt that makes it sound like a lot more that what 3-4 dudes are playing.

Hip-hop comes out of ancient west african music (roughtly speaking) so more modern South American claves aren't nearly as important but they're still an interesting concept that revolves around the same idea. And the connection between tone and rhythm also can be find here. Because a perfect fifth (beginning of music, before it was discovered by pythagoreans in Greece, music was just octaves), is a string in a 3:2 relationship.





big part of hip hop since J Dilla and "Runnin'" has been looking at foreign music (brazillian in particular because it's so damn smooth :wow:) and trying to take its rhythms and sample them back down into 4/4.

You must still be in HS breh, props for trying to gain more knowledge.
 
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@GPBear @KRS-TWO
did i do it right with this beat

Run run run with the mac

Cat dog mice n a rat

Thick hoe hit from the back

Quick grab snatchin the cash

Quick ride hope I dnt crash

All day move It my g

No nights off with the Zs

Uzi red luci a doosie

Swirl with the curl im smoking a lossey

Cuban cigar I got it in packs

Flippin a stack fineesein like jack

Unless I’m a joker then I rolls with kings

I’m Still a joker I bang on the queen
edit-or shld every two lines be one line :lupe:



WHOOOOOOO shiiiiiitttttt

run run
(run run)
run with the mac



cat dog
(cat dog)
mice n a rat

thick hoe
(thick hoe)
hit from the back

:stylin:


cat dog
(cat dog)
mice n a rat

ayyyy
 
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I found counting the beats distracting when there is a melody or hi hat going on:lupe:


my approach to spitting has always been instinctive rather than methodical
 
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