Scales also have well-formedness. They usually have 5 or 7 notes, not 4 or 6. 5 is a bit simple, the chromatic is a bit complex so, we mostly like 7 even if some of the notes are microtonal but most people are having none of this 31 divisions of the octave stuff etc... that computer music programmers are spewing out.
In Berklees book on melody writing it says the Chorus often starts on a "consonant" sounding place e.g. the downbeat. And ends in a position that feels final. Thats different for a 2 measure phrase than it is for a 4 measure phrase.
In a 2 measure phrase, (if I remember correctly) thats the third beat of the second measure.
In a 4 measure phrase thats the first beat of the 4th measure. I'll check my the book later to be certain.
Of course there are different places where you can end or start a chorus for sure and they all have different feelings of how much rhythmic "consonance" or finality there is.
The second most restful place for a 2 measure phrase to end is the first beat of the second measure etc..
Another point they brought up is that its often important to contrast starting and ending points between the sections. If the chorus starts on the downbeat then the verse shouldn't unless you have a reason for starting on the downbeat again such as its dance music or groove music or your mitigating that with a change of instrumentation or whatever.
You can also contrast melodic rhythms between sections or phrases. Long held notes on the chorus and shorter note values for the verse.
Or contrast phrase lengths within or between sections.
4bar phrase in the chorus 2 bar phrase in the verse or two 2bar phrases followed by a 4 bar phrase in the verse.
These are NOT the only possibilities.
Further, the consequent phrase within a section often reaches a greater height, has a wider leap, gives a greater dynamic or, or, or, etc...
Of course I'm sure you're aware of contrasting melodic outline between sections as well.
If you've got an upward curve in the verse then perhaps the chorus is a flatline or a descending line.
Varying your starting note is another tool. Does the chorus star on 1? Then the verse might start on a less stable note such as 2, 4, 6, 7, b2, ..4, b6, b7. This is also affected by what chord is playing in the chorus.
These hints have helped me make better melodies.
In fact another one of my article reads said that pro musicians had a rhythmic concept behind their melody writing and amateurs didn't and only thought about a string of notes. Shit, most music just walks up and down the scale by neighbor notes. That aspect is hardly important most of the time for pop and rock music.
Another observation about classical music which surely applies to pop as well; An article on computer based music composition said that, after analyzing 1000s of classical compositions, the nostrum about hitting the climax only once was an old wives tale. That rule was broken so often that it could hardly be called a rule. The other old wives tale was reversing direction after a leap. Once I tried to follow that rule on everything I wrote and it was all crap. Lesson; don't believe everything your told.
Last thing; one technique is that the climax is approached by walking up the scale by step, the climax is a held or a repeated note and then leaps down or visa versa e.g. it leaps up then walks down. an example of the second is the foreign language part of "All Night Long" by Lionel Richie;
Jumbolitae Setemoya. Yeah Jambo Jambo. Way to Party Oh we goin, Oh Jambola. Jambolitae Setemoya (leap up)Yeah Jambo Jambo (Held) Yeah TEXT. All Night Long etc...
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