- Karachay folk music
- Special tunes
- The classes of Karachay folk music
- Class 1: Rotating and plagal motion (№ 1−8)
- Class 2: One or two short lines and their variations with x(1)1 cadences (№ 9-37)
- Class 3: Four short lines with (1) main cadence (№ 38-53)
- Class 4: Four short lines with the first line ending on the key note, with a (pseudo) domed structure and 1(x)y cadences (№ 54−62)
- Class 5: Four short lines with (VII) main cadence (№ 63−70)
- Class 6: Four short lines with (2) and (b3) main cadences (№ 71−105)
- Class 7: Four short lines with (4/5) main cadences (№ 106−115)
- Class 8: Four short lines with (4/5) main cadence and a higher beginning (№ 116−138)
- Class 9: Four short lines with (7/8) main cadences (№ 139−145)
- Class 10: One- or two-lined tripodic tunes (№ 146–186)
- Class 11: Tunes with four tripodic lines (№ 187–199)
- Class 12: Jir tunes (№ 200–278)
- Class 13: Four long lines with arched (domed) structure (№ 279–287)
- Connections between Hungarian and Karachay folk music
Class 4: Four short lines in (pseudo)domed form with 1(x)y cadences (№ 54−62)
The overwhelming majority of tunes in Class 4 move on scales of Aeolian-Phrygian character, but there are several kindred tunes of mixolydian character with 1(5)1 cadences which belong to the jir tunes to be discussed later separately.
Unlike the descending schemes presented so far, in which the consecutive melody lines progress lower, the first two lines here have a rising tendency to which the two descending arcs of lines 3 and 4 respond. This scheme is fairly popular in Karachay folk music. This is not the typical domed structure characterizing the Hungarian “new style”; here, the first and third lines are identical or similar (AvB/AC) and the second line moves low. Despite the different melodic outlines and tonal ranges, these tunes can be grouped together and although they start rising, there are many signs that they belong to a more archaic style.
The majority of the Aeolian-Phrygian-character tunes of the following groups comprises variants of a single highly popular tune. The groups of mixolydian-character tunes mostly contain one or two melodies.
4.1. This tiny group is characterized by the 1(2)1/VII cadences. The tunes are immediate variants of № 54 so I omitted them here. Slightly different is Ex.4.1 moving higher. There is a single mixolydian tune here, which is not surprising in view of the (2) main cadence (№ 60).
Ex.4.1. Four short lines, with the first line closing on the base note and with 1(2)1 cadences
4.2. Somewhat larger than the previous group, the melodies of this group has (b3) as the main cadence 1(b3)1. The group includes № 55-56 moving on Aeolian-Phrygian scales and Ex.4.2. Apart from the zikir tunes a dance tune was be subsumed here.
Ex.4.2. Four short line with 1(b3)1 cadences
4.3. Variants of the popular № 57 belong in this small group whose cadential sequence is 1(4)x; their close variant is also Ex.4.3. A tune of mixolydian character (№ 61) and a jir tune also belong here.
Ex.4.3. Four short lines with 1(4)x cadences
4.4. This group with 1(5)1 cadences is constituted by two highly popular tunes and their many variants (№ 58−59) and Ex.4.4. Here belong 36 (!) jir tunes and the mixolydian-scale № 627 as well.
Ex.4.4. Four short lines with 1(5)1 cadences
7 With 1(5)3 cadences.