ChartCipher divides melodic range into four categories: 1. Vertical (a melody with a wide range of notes which behave in an ascending and descending style or have a leaping quality). 2. Horizontal (a melody with a narrow range of notes and often uses more repetition of similar notes. 3. Mixed-Vertical (a mixture of vertical and horizontal characteristics of a melody but tends to be more vertical than horizontal). 4. Mixed-Horizontal (a mixture of horizontal and vertical characteristics of a melody but tends to be more horizontal than vertical).   

An interval is the difference (in semitones) in pitch between two sounds.

A melodic theme is a motive, a sequence of notes that is repeated.

The harmony or tonality of a piece of music is based around the Ionian mode (major scale).

The harmony or tonality of a piece of music is based around either the natural Aeolian mode (minor scale), harmonic minor scale, or melodic minor scale.

A type of scale with distinct melodic characteristics. Modes come from the earliest forms of western music.

The Ionian (a.k.a. the major scale), Lydian mode, and Mixolydian mode. These modes have a major third interval between the tonic (the root note) and the third.

The Dorian, Aeolian mode (a.k.a. natural minor scale), and Phrygian mode. These modes have a minor third interval between the tonic (the root note) and the third.

The fourth mode in the Greek (or church) modes. The Lydian is a mode (or scale) with an independent sound and interval texture, which had gained a major mode affinity throughout history. The Lydian differs from the major scale in its fourth note raised by a semitone.

The fifth mode in the Greek (or church) modes. The Mixolydian is a mode (or scale) with an independent sound and interval texture, historically associated with a major mode affinity, only differing from the major scale in its seventh note lowered by a semitone.

The blues scale is a variation and a development of the minor pentatonic scale. It includes an additional blue note - the fifth scale-degree lowered by a semitone.

A five-note scale, popular in folk music, classical East-Asian music, and American blues and rock music. The minor pentatonic scale includes the following scale-degrees of natural minor scale: 1-3-4-5-7.

The Dorian is the second mode in the Greek (or church) modes. Dorian is a mode (or scale) characterized by independent intervals, which has received an affinity of a minor scale throughout history. The Dorian mode differs from the natural minor scale in a sixth note raised by a semitone.

The third mode in the series of Greek (or church) modes. The Phrygian mode is a scale with an independent sound and interval texture. This mode has gained the affinity of a minor scale throughout history. The Phrygian mode differs from the natural minor in a lowered second-scale degree.

A minor scale whose seventh scale-degree is elevated by a semitone.

A minor scale in which the sixth and seventh scale-degrees are raised by a semitone.

A seventh chord is a triad chord (includes the root note, the major or minor third, and a major or minor fifth) with an addition of a major/minor/diminished seventh note.

Chord notes are arranged so that its root note is not its lowest note.

A chord built from the notes within a song's key.

Chords built from specific scale degrees, relative to the tonic. They are typically symbolized by roman numerals (I through VII).

A mood expressed by song lyrics (i.e. dramatic, cynical, optimistic, nostalgic, happy, reluctance, anger, sad, positive, bitter, detached).

A subject matter, narrative or storyline expressed by song lyrics (i.e. love/relationships, inspiration/empowerment, hooking up, etc.).

Lyrics with excessive pride and self-satisfaction about one’s achievements, possessions, or abilities.

Lyrics with a loose, free spirit; sometimes random or not adhering to rules.

Lyrics that relate to having sex or sexual relationships.

Lyrics that reflect confidence, overcoming adversity, or being highly motivated.

Lyrics that examine one’s own thoughts or feelings.

Lyrics that reflect and describe one’s way of life (i.e. habits, attitudes, tastes, moral standards, economic level, etc.).

Lyrics about relationships or deep affection. Includes (but is not limited to) platonic, romantic, or familial relationships.

Lyrics that are unusual, comical, nonsensical and/or parody.

Lyrics describing social interactions or situations or a carefree attitude.

Lyrics that have spiritual or religious connotations.

Rhymes with matching final vowels, while consonants differ. Example: shame - hate

Rhymes with matching final consonants, while vowels differ. Example: rabies – robbers

Methods of using sound repetition (alliteration, assonance, and consonance)

Rhymes in which the stressed vowels and following consonants of the rhyming words correspond, but preceding consonants do not (i.e. make, take).

Rhymes between words in the same lyrical line or sentence.

Rhymes in which there is an extra syllable in one of the rhymed words (i.e., bend / ending).

A word that rhymes with another non-end-of-line word in the following one or two sentences.

Rhymes (of any type) that appear between ends of lines in the same section.

Informal language (words or phrases) that are more common in verbal communications than writing, and are typically characteristic to a particular context or group of people.

Obscene language, including swear words, vulgarity, and off-color topics.

The perceived tone color/quality of a musical note or sound.

The emotional mood established by a song's production (i.e., happy, aggressive, melancholic, etc.).

Production qualities that relate to a specific style of music. Songs can possess one or more production influences.

A section other than a verse or chorus that begins the song (can be unique or reoccurring).

Establishes and develops the story; provides a musical and/or lyrical lead-in to the chorus in the absence of a pre-chorus.

A section that functions to set up the ensuing chorus through tension, energy, lyrical and/or melodic developments.

A section that provides the summation of a song’s narrative or main idea, typically with a hook focus.

A section that provides a pronounced vocal, musical, and/or energy level departure relative to other sections in the song and features new lyrics that provide a development in the narrative.

A section that features an instrumental hook or solo as its focal point.

A section that features a vocal hook as its focal point. Can include elements of the chorus, song title, proper and/or nonsense lyrics, and does not progress the narrative 

A unique section that concludes a song. Can be composed of recycled material from other song sections (i.e. chorus, bridge, etc.), unique material that doesn’t appear anywhere else in the song, or a combination of both.

A short section (typically four bars or less) that provides a transition between sections, most typically the chorus and ensuing verse.

A classification of a song section that follows the chorus and houses a unique and/or recycled instrumental or vocal hook. Sections with a post-chorus classification are most typically a vocal break, instrumental break or outro.

In songs that do not contain a bridge, a section of the song (e.g. vocal break, instrumental break, instrumentally diversified pre-chorus) that provides a pronounced musical, vocal and/or energy departure relative to other sections in the song in lieu of a bridge.

A classification of a song section (bridge or bridge surrogate) that provides a pronounced vocal, lyrical, instrumental, and/or energy level departure compared to other sections in the song, occurring between two-thirds and three-quarters of the way in (i.e. A-B-A-B-D-B). The departure section or sections is then followed by the return of a section that had been featured previously, most typically a chorus.