- 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 8: Four short lines with (4/5) main cadences and a higher start (№ 116−138)
This class consists of tunes starting high, on the 7-8th degree. Some belong to archaic genres (e.g. heroic songs, lullabies, oraydas), but there are many instrumental dance tunes performed on the accordion as well. The melody outline is descending – as required by the wide range, and there are sometimes relatively accurate though only partial fourth or fifth shifts (e.g. № 121−126, № 130−131, № 136). It is not rare to find a melody descending in step progression (№ 134−135). Just like among jir tunes, there is a saliently high rate of 4(4/5)x and 5(5)x cadential sequences. The groups are more populous than previously, most of them using Aeolian-Phrygian or mixolydian scales.
Group 8.1 consists of tunes whose tendency is descending as determined by the 5(4)b3 cadences. Some are in kinship with the narrower-range tunes with 5(b3)x cadences of Class 7. Some tunes in this group are the minor character № 116−117 and Ex.8.1a with 5(4)b3/6 cadences and № 128 and Ex.8.1b moving on a mixolydian scale.
Ex.8.1a. Four short lines with (4) main cadence
Ex.8.1b. Four short lines with (4) main cadence
Group 8.2 includes highly popular tunes with 4(5)x cadences, both mixolydian and Aeolian, which are strongly represented among jir tunes. Here belong № 118−119 and Ex.8.2a of minor character and № 129−132 and Ex.8.2b of mixolydian character.
Ex.8.2a. Four short lines with (5) main cadence
Ex.8.2b. Four short lines with (5) main cadence
Group 8.3 is also large with most tunes using Aeolian-Phrygian scales. The typical feature is the 5(5)x cadential sequence. The very popular № 120−12513 and Ex.8.3a of an Aeolian-Phrygian scale and the mixolydian-character № 133 and Ex.8.3b also belong here.
Ex.8.3a. Four short high lines with (5) main cadence
Ex.8.3b. Four short high lines with (5) main cadence
Group 8.4 contains three tunes with #6(5)4/5 cadences descending – sometimes by seconds – on a mixolydian scale (№ 134−135 and Ex.8.4).
Ex.8.4. Four short lines with (5) main cadence
Group 8.5 mainly contains mixolydian-scale tunes with 8(4)x cadences. Between their 2nd and 4th lines the fourth-shift is not infrequent (№ 136−138). The only Phrygian tunes in the group are № 126 and Ex.8.5.
Ex.8.5. Four short lines with (4) main cadence
Group 8.6 consists of two tunes with 7(5)b3 cadences: № 127 and Ex.8.6.
Ex.8.6. Four short high lines with (5) main cadence
13 Many have AABC form.