The following explanations provide a brief introduction to the 18 rhythmic patterns we have studied, which can be found in the post-metric lyrics of modern and post-modernism. In the list below, these are patterns beyond the known forms of metrics (Jamb, Trochee or Anapest); the patterns listed here are not based on the metric foot, but rather on everyday language, on musical styles such as jazz, bebop or hip hop, or on the experiments of concrete poetry. We have also sorted these patterns according to a fluency-disfluency scale, starting with the long line (No. 1) developed by Walt Whitman, and ending with the Lettristic Decomposition (No. 18), which was developed as a stylistic principle by Isidore Isou in 1945, but whose roots lie in Dadaism. This sorting according to the fluency-disfluency criterion is intended to make clear that the free verse prosody in our project was not only developed on the basis of American patterns and styles, but also includes rhythmic experiments, for example from the genre of sound poetry or concrete poetry originating in Europe. Each of the individual clickable explanations also contains audio examples from the lyric line corpus, which are highlighted in blue in the text and can be activated by clicking on them.