Peruvian Connect
Superstar
Having a trash voice kinda makes your flow trash because who wants to listen to a nikka whose voice you can't tolerate?
Does Kendrick Have The Worst Voice & Flow Of Any Top Tier Rapper Ever?
- Thread starter Devil Plisken…CMS
- Start date
iliketurtles
Do Right And Kill Everything
He's not a top rapper and never was and yes his voice is absolute shyt
iliketurtles
Do Right And Kill Everything
@Nuuko @Not Crodie what time is it in Europe cacs
iliketurtles
Do Right And Kill Everything
Eminem sucks too
Kendrick always finds flow pockets on the beat, he's very good at flowing so this doesn't make sense. I agree that he has a kinda goofy voice, lol. Lupe has a weak voice too, imo, he's so good tho it doesn't matter.
Not Crodie
All Star
This is true but OP is a Drake fan so he lacks musical comprehension. You can't discuss the technical aspects of music and rapping with them lol. They're slow.
Like you said, objectively, he's the goat at maximizing his voice as an Instrument...this has been well documented and analyzed too.
Hood Critic
The Power Circle
Y'all really believe y'all be cooking with these horrible takes.
The third chorus is the most interesting, though, so we will skip there.
Here, Kendrick changes the end of the hook, previously "All my life I want money and POW'R / Respect my mind or die from LEAD SHOW'R", to "All my life I want money and POW'R / Respect my mind or ***** it's go TIME." Notice how they are start off the same way, but end differently. The first line is the same, but this time the 2nd line ends on a different rhyme: a rhyme on "mind", not "pow'r." Simultaneously, we are reminded of what has come in the previous choruses, but also know it's new with the new material in the 2nd line. This makes a flawless transition into the 3rd verse, where he continues his rhymes on that -i- vowel sound: "I roll in dough with a good GRIND…" and so on. In this way, the new ending is similar but different. We call this "elision" in music, where the end of one section of music is joined strongly to the start of the next one.
Notice also throughout the 3rd verse how Kendrick ups the musical tension by increasing the speed of his rhythms: you can see the triplets with the three above them, as well as 32nd notes (the word "mother" in the phrase "motherfukking Hit Boy beat" - the more lines, called beams, there are above a notehead means the shorter the note value is. The 16th notes have 2 beams, such as on the word "options"; the 32nd notes have 3 above them, which you can see here):
This is a very good idea to do, since we are at the end of the song, and typically musical pieces should reach their climax here, which can be reached by increasing musical tension as Kendrick does.
Here in the 3rd verse Kdot also increases the rate at which sentences come. We've been calling them "sentences", but that isn't really correct, because fragments (sentences with a noun but no verb) are also structural units unto themselves. For instance, when he says "Bee-otch" again and again, we hear those as separate from each other. You can see here:
http://That there are six fragments in a 2 bar space, as indicated by those curved lines (called "slurs" in music.) This increase in their pace raises the musical tension, a very good idea to do at the end of a song. He again elides the phrase by changing the rhyme "go play" during the 2nd "Bee-otches" to rhyme with "OJ" instead of repeating "go play" again, like he had the first time around. Again, we remember what has come before, and recognize the new material as related but different. This makes the whole verse very tightly knit and connected. And, like any good music-maker - producer, composer, whoever - he brings the tension down at the end of the song to resolve it. He shortens his multisyllabic rhymes to single-syllable ones, and increases the length of his sentences while making them fall within the bar with his final hook.
So, why should we all pay attention to what Kendrick's doing musically?
His ability to seamlessly transition between different rhythmic levels, from quadruplets, to quintuplets, to sextuplets, to double-quadruplets, is on a level I have never seen before. I've seen these rhythms before, most predominantly in Busta Rhymes circa the "Genesis" album, Outkast's albums circa "Aquemini", and Eminem post-2001 until Relapse. But I've never seen anyone able to put it all together at once like Kendrick and move from one to the next almost effortlessly.
Also, his placement of rhymes and accents are very idiosyncratic - that is, unique to him. They are rather obtuse, not always coming at the end of rhymes, and not always coming as much as you think they should.
Finally, his innovations in conventional rap structural forms, like the freestyle, are things I've never seen before as well. This is the "elision" we were talking about it - the rhyming across verse structures is very new.
Below is a video following along to a performance of the notated sheet music of Kendrick's "Backseat Freestyle" verse. Just follow along to the green line, which marks the notes that the computer is following. The rhythms of Kendrick's words are being played by the triangle in the middle of your speakers, and a simplification of the beat is off to the right. Hopefully, this gives you some appreciation for Kendrick as a musician and not just as a poet, even though he is well accomplished at both:
That there are six fragments in a 2 bar space, as indicated by those curved lines (called "slurs" in music.) This increase in their pace raises the musical tension, a very good idea to do at the end of a song. He again elides the phrase by changing the rhyme "go play" during the 2nd "Bee-otches" to rhyme with "OJ" instead of repeating "go play" again, like he had the first time around. Again, we remember what has come before, and recognize the new material as related but different. This makes the whole verse very tightly knit and connected. And, like any good music-maker - producer, composer, whoever - he brings the tension down at the end of the song to resolve it. He shortens his multisyllabic rhymes to single-syllable ones, and increases the length of his sentences while making them fall within the bar with his final hook.
So, why should we all pay attention to what Kendrick's doing musically?
His ability to seamlessly transition between different rhythmic levels, from quadruplets, to quintuplets, to sextuplets, to double-quadruplets, is on a level I have never seen before. I've seen these rhythms before, most predominantly in Busta Rhymes circa the "Genesis" album, Outkast's albums circa "Aquemini", and Eminem post-2001 until Relapse. But I've never seen anyone able to put it all together at once like Kendrick and move from one to the next almost effortlessly.
Also, his placement of rhymes and accents are very idiosyncratic - that is, unique to him. They are rather obtuse, not always coming at the end of rhymes, and not always coming as much as you think they should.
Finally, his innovations in conventional rap structural forms, like the freestyle, are things I've never seen before as well. This is the "elision" we were talking about it - the rhyming across verse structures is very new.
Below is a video following along to a performance of the notated sheet music of Kendrick's "Backseat Freestyle" verse. Just follow along to the green line, which marks the notes that the computer is following. The rhythms of Kendrick's words are being played by the triangle in the middle of your speakers, and a simplification of the beat is off to the right. Hopefully, this gives you some appreciation for Kendrick as a musician and not just as a poet, even though he is well accomplished at both:
Ay cuh... You need some hoes.
NormanConnors
Detroit/MSU Spartan Life
I agree with this analysis for current Kendrick, early Kendrick was much better in those departments as a rapper.
NormanConnors
Detroit/MSU Spartan Life
Jay's voice is not his strong pointKendrick worse flow??
Jay z worse voice??
Kendrick worse voice??
