- 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 11: Four-lined tripodic tunes (№ 187–199)
Although in Class 10 we have seen tunes with four tripodic lines that could be taken for four-lined schemes, their structure has not petrified yet and the two-lined foundation is easily discernible. This class contains descending tripodic tunes which are four-lined without doubt. The typical (4) and (5) cadences, the descending melody outline and the rhythmic scheme of +|+|&@character lend this class some degree of homogeneity. All this notwithstanding, there are quite different tunes (starting low or high, descending or ascending, conjunct or disjunct, etc.) gathered here, but the groups are all rather small.
It is easy to find Hungarian analogies to the popular tunes in group 11.1 with 5/7(b3)b3 cadences (№ 187 and Ex.11.1). Between lines 1 and 2, and 3 and 4 there are fourth/fifth-shift.
Ex.11.1. a) four-lined tripodic tune with 5(b3)b3 cadences and b) its Hungarian analogy (Vargyas 2002:064)
Group 11.2 contains tunes moving on Aeolian-Phrygian (Ex.11.2) and mixolydian scales (№ 197–198), whose melody outlines are fairly similar despite the 5(4)1 and 8(4)1 cadences.
Ex.11.2. Four-lined tripodic tune with 5(4)b3 cadences
The three tunes in group 11.3 are cohered by the marked cadential sequence of 5(4)4/5 (№ 188–189 and Ex.11.3).
Ex.11.3. Four-lined tripodic tune with 5(4)4 cadences
Group 11.4 includes a Kumyk tune of minor character (№ 190) and a finely arched mixolydian Karachay tune of a broad tonal range (№ 198), tunes of different scales but similar melody contour and 8(4)4 cadences.
The majority of minor-character tunes in group 11.5 with 5(5)x cadences are held together by the first and second lines descending from the octave to the fifth degree. Between lines 2 and 4 there is often parallel motion, if not quintal shifting (№ 191–195). Only lines 2 and 4 of № 194 and Ex.11.5 are tripodic, while both the 4(5)2 cadences and the melody contour of the mixolydian № 199 ranged here for no better place are both different.
Ex.11.5. Four-lined tripodic tune with 5(5)5 cadences
The only zikir tune of 11.6 with 7(5)b3 cadences is a fine example of non-pentatonic fifth-shifting (№ 196).