5.Folksong Anthology

This section contains a representative selection from the studied 1200 tunes. The detailed description of the classes can be seen in the chapter “Karachay folk music”, but for easier orientation the musical criteria underlying the classification is also presented here in tabular form. The tunes are ranged into thirteen larger classes:

Class 1.	Rotating or plagal motion	№ 1−8
Class 2.	One or two short lines and variants with x(1)1 cadences	№ 9−37
Class 3.	Four short lines with (1) main cadence	№ 38−53
Class 4.	Four short lines in (pseudo)domed form with 1(x)y cadences	№ 54–62
Class 5.	Four short lines with 1(VII)x cadences	№ 63–70
Class 6.	Four short lines with (2) and (b3) main cadences	№ 71−105
Class 7.	Four short low lines with (4/5) main cadences	№ 106–115
Class 8.	Four short lines with (4/5) main cadences and a higher start	№ 116−138
Class 9.	Four short lines with (7/8) main cadences	№ 139−145
Class 10.	One- or two-lined tripodic (archaic) tunes	№ 146–186
Class 11.	Four-lined tripodic tunes	№ 187–199
Class 12.	Jir tunes	№ 200−278
Class 13.	Four long lines in a recursive structure	№ 279−287

The groups within the classes are the following:

Class 1: Rotating or plagal motion (№ 1–8)
1.1.	Rotating motion			№ 1, 8
1.2.	Plagal motion			№ 2−7
Class 2: One or two short lines and variants with x(1)1 cadences (№ 9–37)
groups	cadences			scales with minor third	examples	scales with major third	examples
2.1.		(1)		№ 9−10	2.1a	№ 11–12	2.1b
2.2.		(2)		–	−	№ 13−19	2.2.
2.3.		(b3/3)		№ 20−24	2.3a	№ 25−29	2.3b
2.4.		(4)		№ 30−33	2.4a	№ 34	2.4b
2.5.		(5)		№ 35−37	2.5.	–	–
Class 3: Four short lines with (1) main cadence (№ 38–53)
groups	cadences			scales with minor third	examples	scales with major third	examples
3.1.	b3	(1)	2/4	№ 38–42	3.1.	№ 4921
3.2.	4	(1)	2/4	№ 43–44	3.2.	№ 50–51
3.3.	5	(1)	x	№ 45–48	3.3.	№ 52–5322	3.4.
Class 4: Four short lines in (pseudo)domed form with 1(x)y cadences (№ 54–62)
groups	cadences			scales with minor third	examples	scales with major third	examples
4.1.	1	(2)	1/VII	№ 54	4.1.	№ 60
4.2.	1	(b3)	1	№ 55–56	4.2.	–
4.3.	1	(4)	x	№ 57	4.3.	№ 61
4.4.	1	(5)	1	№ 58–59	4.4.	№ 6223
4.5.	1	(5)	4		–	–	–
Class 5: Four short lines with (VII) main cadence (№ 63–70)
groups	cadences			scales with minor third	examples	scales with major third	examples
5.1.	1	(VII)	VII	№ 63–65	5.1.	–	–
5.2.	5	(VII)	4	№ 66–67	5.2.	–	–
5.3.		unique		№ 68–70
Class 6: Four short lines with (2) and (b3) main cadences (№ 71–105)
groups	cadences			scales with minor third	examples	scales with major third	examples
6.1a	2/b3	(2)	2	№ 71–74	6.1.
6.1b	4	(2)	2/b3	№ 75–77
6.1c	5	(2)	x	№ 78–81
6.2.	b/4	b3/4	b3	№ 82–83	6.2.
6.3.	4	(b3)	2/1	№ 84–88	6.3.
6.4.	4	(b3)	b3	№ 89	6.4.
6.5.	5	(b3)	b3/1	№ 90–95	6.5.
6.6.	5	(b3)	b3/1	№ 96–98	6.6.
6.7.	7/8	(b3/2)	1/4	№ 99–102	6.7.	№ 103–105
Class 7: Four short low lines with (4/5) main cadences (№ 106–115)
groups	cadences			scales with minor third	examples	scales with major third	examples
7.1.	b	4/5	b3	№ 106	7.1.
7.2.	5/4	4	1/b3	№ 112–113	7.2.
7.3.	5	4	4/2	№ 108	7.3.	№ 114
7.4.	5	5	b3/4/5	№ 107, 110, 111	7.4.
7.5.	4	5	x	№ 109	7.5.	№ 115

Class 8: Four short lines with (4/5) main cadences and a higher start (№ 116–138)
groups	cadences			scales with minor third	examples	scales with major third	examples
8.1.	5	4	b3/6	№ 116−117	8.1a	№ 128	8.1b
8.2.	4	4/5	x	№ 118−119	8.2a	№ 129−132	8.2b
8.3.	5	5	1/2	№ 120−125	8.3a	№ 133	8.3b
8.4.	#6	5	4/5	−	−	№ 134−135	8.4.
8.5.	8	4	x	№ 126	−	№ 136−138	8.5.
8.6.	7	5	b3	№ 127	8.6.	−
Class 9: Four short lines with (7/8) main cadences (№ 139–145)
groups	cadences			scales with minor third	examples	scales with major third	examples
9.1.	5	7	5	№ 139	9.1.	№ 145
9.2.	7/8	7/8	x	№ 140−144	9.2.	−
Class 10: One- or two-lined tripodic (archaic) tunes (№ 146–186)
groups	cadences			scales with minor third	examples	scales with major third	examples
10.1.		(VII)		№ 146
10.2.	1/2	(1)	b3/4	№ 147–149	10.1.	№ 163–16924	10.2.
10.3.		(2)		–	–	№ 170–179	10.3.
10.4.		(b3/3)		№ 150–15625	10.4.	№ 180–181
10.5.		(4)		№ 157–158	10.5a	№ 182–184	10.5b
10.6.		(5)		№ 159–16126	10.6.	№ 185
10.7.		(7)		№ 162		№ 18627
Class 11: Four-lined tripodic tunes (№ 187–199)
groups	cadences			scales with minor third	examples	scales with major third	examples
11.1.	5/7	(b3)	4	№ 187	11.1.	–	–
11.2.28	5	(4)	b3/1		11.2.45	№ 197
11.3	5	(4)	4/5	№ 188–189	11.3.	–	–
11.4.	8	(4)	4	№ 190		№ 198	–
11.5.	5	(5)	x	№ 191–195	11.4.	№ 19929
11.6.	7	(5)	b3	№ 196		–	–
Class 12: Jir tunes (№ 200–278)
groups	cadences			scales with minor third	examples	scales with major third	examples
12.1.	4/5	1	4/5	№ 200–203	12.1.
12.2.	1	5	1	№ 204–205*	12.2.	№ 207
12.3.	1	4/5	1	№ 206–214**	12.3a	№ 210–214	12.3b
12.4.	(b)3	4/5		№ 215–216	12.4a	№ 217–21930	12.4b
12.5.	4/5	4/5		№ 220–221*	12.5a	№ 222–224	12.5b
12.6.	4/5	4/5		№ 225–229**	12.6a	№ 230–234	12.6b
12.7.	4/5	4/5		№ 235–243 two small hills in line 1	12.7a	№ 244–245	12.7b
12.8.	4/5	4/5		№ 246–253 tall hill	12.8a	№ 254–255	12.8b
12.9.	4/5	4/5		№ 256–266 descending from high	12.9a	№ 267–276	12.9b
12.10.	Spec.			№ 277–278
Class 13: Four long lines with recursive (domed) structure (№ 279–287)
groups	cadences			scales with minor third	examples	scales with major third	examples
13.1.	1	(4)	b3/4	№ 279–280
13.2.	1	(5)	2	№ 281
13.3.	1	(5)	4	№ 282
13.4.	1	(5)	5	№ 283–285
13. spec.	1	(5)	VII	№ 286
13. spec.	1	(5)	1	№ 287
13. spec.	V	(5)	b3		13

* Descending in the middle of line 1.

** Line 1 is rising or hill-shaped.

21 3(1)VII cadences.

22 № 53: #6(1)3.

23 with 1(5)3 cadences.

24 Kanamat, lament, orayda. I ranged here tunes with 1(1)x cadences as well.

25 Various melody outlines, oldish stratum, sometimes a jump down to E, occurs. № 150 can be interpreted with (2) main cadence and with 2(1)b3 cadences.

26 Variants of a melody, the pertinent tunes with (7) main cadence also subsumed here.

27 (#6) main cadence!!

28 Variants with (8) of a melody.

29 With 4(5)2 cadences.

30 № 219: 2(5)2.