- 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
Number of melody cores/lines and cadences
There are merely four tunes that can be reduced to a single musical line, so this elementary musical form is represented even less in Karachay folkmusic than in the Hungarian stock. Negligible is the number of three- and five-lined tunes that cannot be traced back to two- or four-lined forms (3).1
There are far more numerous two-core or two-line tunes (65), while similarly to Hungarian folkmusic, the dominant form is the four-lined tune. This subset is relatively evenly divided between those that descend to the key note in the middle of the first line and those that descend to the base note at the end of the first line (40). Some of the latter has a more recent rising-falling construction, while another part traces a more archaic ABcAB form.
By far the most populous group is that of tunes comprising four wholly or relatively independent lines (197 tunes), with most varied but descending cadential series as required by the typical melody progression.
1-core tunes and those traceable to a single melodic line (4 tunes):
№ 11, № 166, Ex.2.1a, Ex.2.1b.
2-line tunes and those traceable to 2 melodic lines (65 tunes).
|
main |
identifier |
|
IV |
Ex.1 |
|
VII |
№ 68, № 146 |
|
#VII |
№ 4 |
|
1 |
№ 1–2, № 12, № 148–149, № 163–164, № 167–169 |
|
2 |
Ex.2.2, № 3, № 8, № 13–14, № 16–19, № 147, № 170–174, № 176–179 |
|
b3 |
Ex.2.3a, Ex.10.42, № 20–22, № 24, № 151, № 155–156 |
|
3 |
Ex.2.3b, № 25–29, № 180–181 |
|
4 |
Ex.2.4a, Ex.2.4b, Ex.10.1, Ex.10.5a, № 31, № 33, № 157, |
|
5 |
Ex.2.5, № 36, № 37, № 185 |
|
7 |
№ 162 |
4-line tunes and those derived from 4-lined forms
4-line tunes ending on the base note in line 2 (41 tunes)
|
cadences |
identifier |
|
1, 1, VII |
№ 70 |
|
1, 1, 1 |
№ 5, № 9 |
|
1, 1, b3 |
Ex.10.2, № 10 |
|
1, 1, 3 |
№ 165 |
|
2, 1, b3 |
№ 150 |
|
b3, 1, 1 |
№ 23, № 39 |
|
b3, 1, 2 |
№ 38, № 40 |
|
b3, 1, 4 |
Ex.3.1, № 41, № 42, № 153 |
|
3, 1, VII |
№ 49 |
|
3, 1, 2 |
№ 48 |
|
4, 1, 1 |
№ 30, № 32, № 34, № 44 |
|
4, 1, 2 |
№ 43, № 51 |
|
4, 1, 3 |
№ 158 |
|
4, 1, 4 |
Ex.3.2, № 50, № 201, № 203, № 245 |
|
4, 1, 5 |
№ 200 |
|
5, 1, 1 |
№ 35, № 46, № 202 |
|
5, 1, 2 |
№ 45 |
|
5, 1, b3 |
Ex.3.3b, № 160 |
|
5, 1, 4 |
Ex.3.3a, № 52 |
|
5, 1, 5 |
Ex.12.1, № 47 |
|
#6, 1, 3 |
№ 53 |
4-line tunes closing on (or below) the key note in the first line (43 tunes)
|
cadences |
identifier |
|
1, VII, VII |
№ 63, № 64, № 65 |
|
1, VII, 2 |
Ex.5.1, № 69 |
|
1, 2, 1 |
Ex.4.1, № 60 |
|
1,2,VII |
№ 54 |
|
1, b3, 1 |
Ex.4.2, № 55–56 |
|
1, 4, 1 |
№ 57, № 61 |
|
1, 4, b3 |
Ex.4.3, № 279 |
|
1, 4, 4 |
№ 280 |
|
1, 4, 5 |
№ 7 |
|
1, 5, VII |
№ 286 |
|
1, 5, 1 |
Ex.4.4, Ex.12.3b, № 58, № 59, № 204, № 206–212, № 287 |
|
1, 5, 2 |
№ 213, № 214, № 281 |
|
1, 5, 3 |
№ 62 |
|
1, 5, 4 |
Ex.12.3a, № 205, № 282 |
|
1, 5, 5 |
Ex.12.2, № 283–285 |
|
VII, b3, b3 |
№ 6 |
Descending 4-line tunes (197)
|
cadences |
identifier |
|
5, VII, 4 |
Ex.5.2, № 66–67 |
|
2, 2, 1 |
№ 15, № 71 |
|
b3, 2, 1 |
№ 74 |
|
b3, 2, 2 |
Ex.6.1, № 72–73 |
|
4, 2, 2 |
№ 75 |
|
4, 2, b3 |
№ 76–77 |
|
5, 2, VII |
№ 78 |
|
5, 2, 1 |
№ 79 |
|
5, 2, 2 |
№ 80 |
|
5, 2, b3 |
№ 81 |
|
5, 2, 4 |
№ 175 |
|
8, 2, 1 |
№ 104 |
|
8, 2, #6 |
№ 105 |
|
b3, b3, b3 |
Ex.6.2, № 82 |
|
b3, b3, 1 |
№ 83, № 278 |
|
4, b3, b3 |
Ex.6.4, № 89 |
|
4, b3, 1 |
№ 86, № 98, № 114 |
|
4, b3, 2 |
Ex.6.3, № 87–88 |
|
5, b3, VII |
№ 90 |
|
5, b3, 1 |
№ 85, № 91–93, № 97 |
|
5, b3, b3 |
Ex.6.5, Ex.6.6, Ex.11.1, № 96 |
|
5, b3, 4 |
№ 94 |
|
6, b3, 1 |
№ 95 |
|
7, b3, 2 |
Ex.6.7 |
|
7, b3, 4 |
№ 99, № 187 |
|
7, b3, 6 |
№ 100 |
|
7, b3, 7 |
№ 277 |
|
8, b3, 1 |
№ 101–102 |
|
#6, 3, 1 |
№ 103 |
|
#6, 3, #6 |
№ 186 |
|
b3, 4, b3 |
№ 106 |
|
b3, 4, 4 |
Ex.12.4a |
|
4, 4, 1 |
Ex.10.5b, № 113, № 128, № 253, № 267–268 |
|
4, 4, b3 |
№ 256 |
|
4, 4, 4 |
Ex.12.9a |
|
5, 4, 1 |
Ex.8.1b, № 197, № 247 |
|
5, 4, 2 |
№ 84 |
|
5, 4, b3 |
Ex.7.2, Ex.8.1a, Ex.11.2, № 116 |
|
5, 4, 4 |
Ex.7.3, Ex.11.3, № 108, № 188, № 246 |
|
5, 4, 5 |
№ 189 |
|
5, 4, 6 |
№ 117 |
|
8, 4, 1 |
№ 198, № 275 |
|
8, 4, 3 |
Ex.8.5 |
|
8, 4, 4 |
№ 126, № 136, № 138, № 190 |
|
8, 4, #6 |
№ 137 |
|
V, 5, b3 |
Ex.13 |
|
2, 5, 2 |
№ 219 |
|
b3, 5, 1 |
№ 215 |
|
b3, 5, b3 |
Ex.7.1, № 154, № 216 |
|
3, 5, 1 |
№ 218 |
|
3, 5, 3 |
Ex.12.4b |
|
3, 5, 5 |
№ 217 |
|
4, 5, VII |
№ 235 |
|
4, 5, 1 |
Ex.8.2b, Ex.12.9b, № 118, № 248, № 249 |
|
4, 5, 2 |
Ex.8.2a, № 129–130, № 199, № 269 |
|
4, 5, b3 |
Ex.12.5a, Ex.12.6a, № 236, № 250–251, № 257–260 |
|
4, 5, 3 |
№ 230, № 270 |
|
4, 5, 4 |
Ex.7.5, Ex.12.5b, Ex.12.6b, Ex.12.7a, Ex.12.8b, № 115, № 131, № 132, № 220, № 222, № 224–227, № 237–241, № 244–255, № 261 |
|
4, 5, 5 |
Ex.12.7b, № 221, № 243, № 262, № 271 |
|
4, 5, 6 |
№ 109, № 119, № 242, № 254 |
|
4, 5, 8 |
№ 263 |
|
5, 5, 1 |
Ex.8.3a, № 120–124, № 191, № 264 |
|
5, 5, 2 |
№ 125, № 193, № 234, № 272 |
|
5, 5, b3 |
Ex.7.4, № 107, № 192, № 228 |
|
5, 5, 3 |
Ex.8.3b |
|
5, 5, 4 |
Ex.12.8a, № 111–133, № 229, № 233 |
|
5, 5, 5 |
Ex.11.5, № 110, № 223, № 231–232 |
|
5, 5, 7 |
№ 194 |
|
6, 5, b3 |
№ 195 |
|
6, 5, 4 |
№ 274 |
|
6, 5, 5 |
№ 252 |
|
#6, 5, 4 |
№ 134, № 135 |
|
#6, 5, 5 |
Ex.8.4 |
|
7, 5, b3 |
Ex.8.6, № 127, № 159 |
|
8, 5, b3 |
№ 265 |
|
8, 5, 8 |
№ 266 |
|
5, 6, 4 |
№ 273, № 276 |
|
5, 7, 5 |
№ 139 |
|
4, 8, 7 |
№ 145 |
|
7, 8, b3 |
№ 143 |
|
7, 8, 4 |
Ex.9.2 |
|
7, 8, 6 |
№ 141, № 144 |
|
8, 8, b3 |
Ex.9.1, № 140 |
|
8, 8, 4 |
№ 142 |
3- and 5-lined tunes
|
cadences |
identifier |
|
3, b3, V |
№ 152 |
|
3, 2, 1 |
Ex.10.3 |
|
3, 5, 4 |
№ 161 |
1 Tunes of two long divisible lines are taken for constructions of four (short) lines (№ 159). Separate refrains are ignored (Ex.2.5). Tunes that end on the keynote in their second line followed by two plain narrow-range lines ending on the key note are regarded as two-lined tunes. By contrast, there are some tunes whose each line ends on the base note yet they are considered four-lined forms (e.g. № 5).
2 Its cadences are b3(1)2, and what is more, the penultimate note in line 2 and the very last note of the tune jump down to degree VI.