3.3. Four-lined tunes of Minor character (ex.30-33, №205-223)

With a few exceptions I arranged these tunes by their cadential sequences. They typically begin with a recitation, or with a hill-form, sometimes with a rise. The tunes with undulation in the first line also touching on the keynote will constitute another class.

3.3.1. Tunes with 5(2)x or 5/7(b3)x cadences (ex.30a-b, №205-207). The first half of tunes with (2) main cadence tally with the two-core Phrygian tunes; the relationship between the two groups is confirmed by the genre of lullaby in several cases (ex.30a, №205-206). Those with the (b3) main cadence resemble in some way the “psalmodic” tunes of sporadic presence in Kyrgyz folk music (ex.30b, №207). I put unique №204 here for its main cadence on the 2nd degree and for being practically identical with №205, barring the end of the first line.

3.3.2. Tunes with 4(5)x cadences (ex.31, №208-211). Their second line cadence higher than the first. Some melody outlines are reminiscent of Karachay tunes of similar cadences. I also ranged №208 of (6) main cadence here.

3.3.3. Tunes with 4(4)x, 5(4)x and 5/6(5/6)x cadences (ex.32a-b, №212-218). They are mainly descending. Few have 4/5(4)x cadences (ex.32a, №212-214), more have 5/6(5/6)x cadences, the latter typically in AABC form (ex.32b, №215-218). Some of the tunes ranged here have their line-ending notes secondarily modified to the 6th, rarely to the 8th degree. The cadential note of the third line is often b3.

3.3.4. Tunes with 7/8(5/4)x cadences (ex.33a-b, №219-223). As the cadences suggest, the majority of these tunes have their first three lines moving high and sometimes, mainly in more recent tunes, the disjunct and even the fifth-shifting structures also appear.