- 1. Twin-bar tunes (ex.1-11, №1-58)
- Twin-bar tunes based on the g,-c bichord
- Twin-bar tunes based on rotating motifs
- Twin-bar tunes with descending/hill-shaped lines
- Motifs with a downward leap at the end of the line
- Motivic processes
- 2. Tunes moving on Ionian scales (ex.12-24, №59-164))
- Laments and their relatives
- Two-lined tunes of Major character with higher main cadences and their four-lined relatives
- Four-lined tunes of Major character
- 3. Aeolian tunes (ex.25-36, №165-238)
- Laments and related tunes
- Aeolian tunes with higher main cadence
- Four-lined tunes of Minor character
- Valley-shaped, ascending or undulating first line
- 4. Caramazan religious tunes (ex.37-41, №239-326)
- 5. Tunes of domed structure (ex.42-43, №327-332)
1.1. Twin-bar tunes based on the g,-c bichord (ex.1, №1-3)
The simplest tunes of Kyrgyz folk music include the epic songs (e.g. the tunes of the Manas epic), lullabies, swinging tunes (selkinçek) and some instrumental tunes. The most elementary ones keep hopping on the G,-C-(D) chord to produce twin-bar tunes of G,-G,-C-C | D-C C scheme (ex.1a, №1-2). Often they acquire a lengthier closing formula (cadenza) of free rhythm (ex.1b, №3). The G,-C interval can be heard in lots of pentatonic and pentatony-based music, but as will be seen later, the lines of the laments of Kyrgyz folk music, which is basically non-pentatonic, also often begin and/or end with this interval.
a)
1 ex.1a, Lullaby, Alımbayeva Bayıskan (1922), Çirkey, Taş-Arık, 2004; ex.1b, Love song (Süygön), Tüküyeva Daken (1931, Ak-Talaa-Bayetov) Sarıbağış-Çağaldak, Ak-Moyun, 2002