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How to Rap 2: Advanced Flow and Delivery Techniques
This sequel to How to Rap breaks down and examines techniques that have not previously been explained—such as triplets, flams, lazy tails, and breaking rhyme patterns. Based on interviews with hip-hop’s most innovative artists and groups, including Tech N9ne, Crooked I, Pharcyde, Das EFX, Del the Funky Homosapien, and Big Daddy Kane, this book takes you through the intricacies of rhythm, rhyme, and vocal delivery, delving into the art form in unprecedented detail. It is a must-read for MCs looking to take their craft to the next level, as well as anyone fascinated by rapping and its complexity.
272 pages, Paperback
First published January 1, 2013
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Displaying 1 - 8 of 8 reviews
February 9, 2014
There are now plenty of online and literary resources analyzing rap music. These all seem primarily focused on content: metaphors, references, general subject matter, and the like. Some musical elements, however, don't particularly translate well to the written page/link-baiting website, namely delivery and flow and how those words actually sound. Paul Edwards' sequel to his 2009 book How to Rap attempts to fill this gap and does quite an admirable job. Similar to the first installment of the series, How to Rap 2: Advanced Flow and Delivery Techniques consists of a series of insights from rappers past and present opening up about their craft. This volume is completely based around flow and delivery. While it seems to be aimed squarely at aspiring rappers (and it is undoubtedly a valuable asset for that audience) there is plenty to like here for the general hip-hop fan on how to appreciate the music in a new way.
The book culls from over 100 interviews with a broad range of emcees. Edwards gets to the pick the brains of the likes of Chuck D, Big Daddy Kane, Aesop Rock, and E-40, among many others and the lineup truly runs the gamut of popularity and (American) geographic region. Most rappers are incredibly revealing about their methods and techniques. Highlights include Evidence from Dilated Peoples describing how the three-bar loop of "Worst Comes to Worst" and how Gift of Gab records and memorizes his rhymes to allow him to play around with delivery in the recording booth. Edwards is also far more than a silent transcriber, as he includes a plethora of flow diagrams (example pictured below) to illustrate his points and is able to mention abundant examples of the advanced techniques referenced in the subtitle. Some of his especially enlightening contributions include outlining how Nas links rhyme schemes on "N.Y. State of Mind" (very smoothly and cleverly, it turns out) or how Gift of Gab has to alter his rhyme scheme on the 3/4 beat of "Chemical Calisthenics."
How to Rap 2 is split into three main sections. The first concerns advanced rhythm techniques, including placing rhymes within bars, triplets, and punctuating different beats in bars. The second section covers vocal tones, delivery, and timbre, and the final portion goes over rhyme schemes in a more complex and comprehensive manner than the first How to Rap. Some sections are actually groundbreaking, such as Edwards' application of the "flam" concept (think DMX on "Who We Be") in percussion to rap flows. Rappers have been using this technique for quite some time but this is the first time someone is actually classifying and naming it. Often times most discussion about a rapper's flow begins and ends with a statement like "he sounds like he could flow for days." How to Rap 2 is able to give names to many methods that lead to entertaining flows and delivery along with rappers explaining how they employ such techniques. The book concludes with an index of consonant and vowel sounds to practice enunciation, which is the only portion that non-rappers might conceivably skip (though I did like guessing to see what songs would be used as examples).
How to Rap can essentially be seen as an introductory course into the craft of rapping, touching briefly upon all basic elements. Its sequel is more like "Advanced Topics in Rhythm and Delivery," expounding upon the more general flow and delivery content from How to Rap. The rapper interviews appear to all be from the same session that yielded the first book, but re-hashing is kept to a minimum and most of the book covers new territory. I also don't have any issue with assembling these journalistic b-sides into a new book, as it would have been a real shame if they never saw the light of day. And the fact that Edwards was able to create a 200-plus page book from interview snippets about one specific topic makes me excited for future installments in the series. While the author does occasionally fall victim to beating home some rather straightforward points (I think its a bit of explanatory overkill to mention that Pharoahe Monch ends a bar on "Maintain" with a low pitch because "the MC is serious and talking about a serious subject") and I don't entirely understand the frequent references to page numbers of the first How to Rap given that almost every flow and delivery topic is covered more in-depth in this current volume, these are minor quibbles. Ultimately, How to Rap 2 is a fun, fast, and enlightening read that is really essential reading for any aspiring rapper or fan of the genre. It explored new elements of the genre that made me want to return to albums I had listened to a thousand times already to explore their rhythmic and tonal elements with a new perspective and vocabulary.
In Sum
Anyone looking to delve deeper into the rhythm and sounds of rap owes it to themselves to pick up How to Rap 2, especially if you enjoyed the first book. The rappers are all remarkably candid and insightful about their processes and Edwards is an excellent guide through the realm of rhyme schemes, vocal tones, and complex rhythms. Fans should not be dissuaded by the title, as there is plenty to like for anyone with an interest in hip-hop can learn and appreciate a lot from this book.
8.5/10
Related Reading: Good Books About the Craft of Rap
How to Rap by Paul Edwards
Check the Technique by Brian Coleman
Book of Rhymes by Adam Bradley
The book culls from over 100 interviews with a broad range of emcees. Edwards gets to the pick the brains of the likes of Chuck D, Big Daddy Kane, Aesop Rock, and E-40, among many others and the lineup truly runs the gamut of popularity and (American) geographic region. Most rappers are incredibly revealing about their methods and techniques. Highlights include Evidence from Dilated Peoples describing how the three-bar loop of "Worst Comes to Worst" and how Gift of Gab records and memorizes his rhymes to allow him to play around with delivery in the recording booth. Edwards is also far more than a silent transcriber, as he includes a plethora of flow diagrams (example pictured below) to illustrate his points and is able to mention abundant examples of the advanced techniques referenced in the subtitle. Some of his especially enlightening contributions include outlining how Nas links rhyme schemes on "N.Y. State of Mind" (very smoothly and cleverly, it turns out) or how Gift of Gab has to alter his rhyme scheme on the 3/4 beat of "Chemical Calisthenics."
How to Rap 2 is split into three main sections. The first concerns advanced rhythm techniques, including placing rhymes within bars, triplets, and punctuating different beats in bars. The second section covers vocal tones, delivery, and timbre, and the final portion goes over rhyme schemes in a more complex and comprehensive manner than the first How to Rap. Some sections are actually groundbreaking, such as Edwards' application of the "flam" concept (think DMX on "Who We Be") in percussion to rap flows. Rappers have been using this technique for quite some time but this is the first time someone is actually classifying and naming it. Often times most discussion about a rapper's flow begins and ends with a statement like "he sounds like he could flow for days." How to Rap 2 is able to give names to many methods that lead to entertaining flows and delivery along with rappers explaining how they employ such techniques. The book concludes with an index of consonant and vowel sounds to practice enunciation, which is the only portion that non-rappers might conceivably skip (though I did like guessing to see what songs would be used as examples).
How to Rap can essentially be seen as an introductory course into the craft of rapping, touching briefly upon all basic elements. Its sequel is more like "Advanced Topics in Rhythm and Delivery," expounding upon the more general flow and delivery content from How to Rap. The rapper interviews appear to all be from the same session that yielded the first book, but re-hashing is kept to a minimum and most of the book covers new territory. I also don't have any issue with assembling these journalistic b-sides into a new book, as it would have been a real shame if they never saw the light of day. And the fact that Edwards was able to create a 200-plus page book from interview snippets about one specific topic makes me excited for future installments in the series. While the author does occasionally fall victim to beating home some rather straightforward points (I think its a bit of explanatory overkill to mention that Pharoahe Monch ends a bar on "Maintain" with a low pitch because "the MC is serious and talking about a serious subject") and I don't entirely understand the frequent references to page numbers of the first How to Rap given that almost every flow and delivery topic is covered more in-depth in this current volume, these are minor quibbles. Ultimately, How to Rap 2 is a fun, fast, and enlightening read that is really essential reading for any aspiring rapper or fan of the genre. It explored new elements of the genre that made me want to return to albums I had listened to a thousand times already to explore their rhythmic and tonal elements with a new perspective and vocabulary.
In Sum
Anyone looking to delve deeper into the rhythm and sounds of rap owes it to themselves to pick up How to Rap 2, especially if you enjoyed the first book. The rappers are all remarkably candid and insightful about their processes and Edwards is an excellent guide through the realm of rhyme schemes, vocal tones, and complex rhythms. Fans should not be dissuaded by the title, as there is plenty to like for anyone with an interest in hip-hop can learn and appreciate a lot from this book.
8.5/10
Related Reading: Good Books About the Craft of Rap
How to Rap by Paul Edwards
Check the Technique by Brian Coleman
Book of Rhymes by Adam Bradley
December 21, 2013
This was just as helpful as the first book, providing insight into the many aspects of rap. The difference between this book and the last one, however, is that this is much more specific- it'll focus a lot more on the delivery of vocals as well as rhythm and rudiments. Basically, if it hasn't been covered in the first book, it'll be mentioned somewhere in here.
The roster of hip hop artists interviewed for this book was as impressive as the first book, and they collectively provided a wonderfully clear insight into the craft and meaning of the art. I'm definitely going to spend ages in the back section of the book, looking into the names of each and every artist interviewed in this book and giving their music a thorough listen.
I wouldn't recommend this unless you've read the first How to Rap, and even then it's a question of how far you want to take it, really. If you think you'll need every resource you can possibly get your hands on, get this book, you will not regret it.
The roster of hip hop artists interviewed for this book was as impressive as the first book, and they collectively provided a wonderfully clear insight into the craft and meaning of the art. I'm definitely going to spend ages in the back section of the book, looking into the names of each and every artist interviewed in this book and giving their music a thorough listen.
I wouldn't recommend this unless you've read the first How to Rap, and even then it's a question of how far you want to take it, really. If you think you'll need every resource you can possibly get your hands on, get this book, you will not regret it.
April 15, 2015
This was a tough one to rate. I could have gone to 3 stars without feeling too queasy, but I'm just not sure. Especially when, at current standing, HTR2 has a higher GR score than the original HTR (which I really enjoyed).
I have a lot of problems with this book. Not least of all is it feels like an attempt to legitimize rap, something I feel like I've written about elsewhere on GR. I hate that bullshit. Trying to legitimize rap with all this bullshit. This is a theme that runs all the way through the book. It was, of course, prevalent in HTR1 as well, but it didn't feel anywhere near as burdensome there. This book really pushes it.
The quotes from the rappers themselves seemed to slip away by the second half of the book. Then it was 90% 'techniques'. Let me tell you something. These 'techniques' are bullshit. I can damn near guarantee you the rappers themselves aren't thinking in these terms. Obviously they use these 'techniques' - there's the lyrics, right there, you can see them. But they do NOT think of things in these terms. It is much more organic.
Reading some of the book towards the end was truly painful. Truly grasping at straws. Flicking through: "Animal noises are sometimes mimicked by MCs. These include chicken noises, such as "pa-cccaawk!" on Cypress Hill's "3 Lil' Putos" (02:36)"... this goes on to list other animal noises MCs have made, along with the song this is featured on & the exact time of the event. It takes up half a page to describe this 'technique'. It is immediately followed by a quote from Del the Funky Homosapien. His quote is not about animal noises as a hip-hop technique. There's sections upon sections about pitch, with lyrical examples, like each thing is this big technique: raising the pitch on the last word, lowering the pitch on the last word, raising the pitch on the first word, lowering the pitch on the first word, raising the pitch for a whole bar, raising the pitch for half a bar... I'm pretty sure I'm not making these memories up.
The proof is in the motherfucking pudding. Almost every sticky note I laid down was on a rapper's quote, because they're talking about their craft in a genuine way. & they almost never talk about things in the author's terms. Some are basic, & I'm not saying there aren't techniques, so they are mentioned - but not with the redundant specificity that the author uses to capture all these ways of rapping. But most of the time, any concept the author tries to put the rapper's rhymes in seems absolutely academic & made up. Sometimes I even got the feeling that a rapper's quote came in answer to a question where the author is trying to get them to talk about things in his way, so they kind of throw him a bone. Because, as we know, the lyrics are right there. Of course the rapper did it. The rapper usually acknowledges this with a generic "Yeah, you have to switch up the styles, so it's not boring."
I don't know. At the start, I really enjoyed the book. I don't really know if there are less quotes in the second half, or if by then I had just had enough bullshit. But the book isn't terrible. It's worth looking at if you liked the first one. But as I said, I feel it falls squarely into an effort to legitimize rap, make it some kind of poetry (the way 'poetry' is viewed & studied by the 'educated' echelons - I don't give a fuck if this sounds ignorant or pretentious, but you know damn well there's a difference between a more academic approach & a more heartfelt approach). Rap is legitimate. Nas is not Shelley. 2Pac is not Byron. Shit, I'm not even Rimbaud. Don't put Michael Jordan on the field with Tiger Woods.
I honestly feel like if you were to take this book too seriously, you would walk away with LESS knowledge about rap.
I have a lot of problems with this book. Not least of all is it feels like an attempt to legitimize rap, something I feel like I've written about elsewhere on GR. I hate that bullshit. Trying to legitimize rap with all this bullshit. This is a theme that runs all the way through the book. It was, of course, prevalent in HTR1 as well, but it didn't feel anywhere near as burdensome there. This book really pushes it.
The quotes from the rappers themselves seemed to slip away by the second half of the book. Then it was 90% 'techniques'. Let me tell you something. These 'techniques' are bullshit. I can damn near guarantee you the rappers themselves aren't thinking in these terms. Obviously they use these 'techniques' - there's the lyrics, right there, you can see them. But they do NOT think of things in these terms. It is much more organic.
Reading some of the book towards the end was truly painful. Truly grasping at straws. Flicking through: "Animal noises are sometimes mimicked by MCs. These include chicken noises, such as "pa-cccaawk!" on Cypress Hill's "3 Lil' Putos" (02:36)"... this goes on to list other animal noises MCs have made, along with the song this is featured on & the exact time of the event. It takes up half a page to describe this 'technique'. It is immediately followed by a quote from Del the Funky Homosapien. His quote is not about animal noises as a hip-hop technique. There's sections upon sections about pitch, with lyrical examples, like each thing is this big technique: raising the pitch on the last word, lowering the pitch on the last word, raising the pitch on the first word, lowering the pitch on the first word, raising the pitch for a whole bar, raising the pitch for half a bar... I'm pretty sure I'm not making these memories up.
The proof is in the motherfucking pudding. Almost every sticky note I laid down was on a rapper's quote, because they're talking about their craft in a genuine way. & they almost never talk about things in the author's terms. Some are basic, & I'm not saying there aren't techniques, so they are mentioned - but not with the redundant specificity that the author uses to capture all these ways of rapping. But most of the time, any concept the author tries to put the rapper's rhymes in seems absolutely academic & made up. Sometimes I even got the feeling that a rapper's quote came in answer to a question where the author is trying to get them to talk about things in his way, so they kind of throw him a bone. Because, as we know, the lyrics are right there. Of course the rapper did it. The rapper usually acknowledges this with a generic "Yeah, you have to switch up the styles, so it's not boring."
I don't know. At the start, I really enjoyed the book. I don't really know if there are less quotes in the second half, or if by then I had just had enough bullshit. But the book isn't terrible. It's worth looking at if you liked the first one. But as I said, I feel it falls squarely into an effort to legitimize rap, make it some kind of poetry (the way 'poetry' is viewed & studied by the 'educated' echelons - I don't give a fuck if this sounds ignorant or pretentious, but you know damn well there's a difference between a more academic approach & a more heartfelt approach). Rap is legitimate. Nas is not Shelley. 2Pac is not Byron. Shit, I'm not even Rimbaud. Don't put Michael Jordan on the field with Tiger Woods.
I honestly feel like if you were to take this book too seriously, you would walk away with LESS knowledge about rap.
December 23, 2013
Very, very detailed, it covers flow and delivery extensively.
It's a natural progression from the first book, and it focuses on specific techniques a lot more, whereas the first book had more behind-the-scenes stories.
If you want to know how to come up with crazy rhythms and rhymes, this is the book to get, or if you just want to know how your favorite MCs do it, this will tell you why the complex guys sound so complex.
It's a natural progression from the first book, and it focuses on specific techniques a lot more, whereas the first book had more behind-the-scenes stories.
If you want to know how to come up with crazy rhythms and rhymes, this is the book to get, or if you just want to know how your favorite MCs do it, this will tell you why the complex guys sound so complex.
March 20, 2015
Good shit
I recommend reading the first book before you get to this one. Good read worth the purchase yada yada yada.
I recommend reading the first book before you get to this one. Good read worth the purchase yada yada yada.
June 5, 2025
Great book. Helped me when I started rhyming.
August 21, 2013
Whereas the first How to Rap is truly essential, this sequel is for the already initiated, and maybe not all of them. I'd definitely recommend it for people who actually rap, who want to get better at it and who want to know everything there is to know about it -- which you'd think they all would, but obviously many of them don't. I'm not sure if it would be as useful for the person who's just a fan of rap music, or someone who's trying to learn more about rap music, for whatever reason, as I think the first book was very thorough in that regard and this second book is mostly just extra.
February 18, 2014
A great read for any rap nerds out there who want to get down to the nitty gritty technical aspects of being an emcee. Much like the first volume, the book reads like a talking head documentary, with a wide range of emcees giving insight into how they put their rhymes together.
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