The typical melody contour of the lines of non-motivic Kyrgyz tunes are hill-shaped or descending. In addition, mainly in twin-bar tunes and some lines of other songs, hopping or rotating motion may also occur. The first line of the tunes in this class traces a valley or undulates, touching on the key note in mid-line. This feature marks them off from the rest of the Kyrgyz tunes and justifies their separate treatment.

3.4.1. Two-lined tunes of Minor character with (4) cadence and their kin (ex.34a, №224-227). There is also a lament among the two-lined tunes of Minor character with undulating first line (ex.34a), which supports the authenticity of the form. I subsumed here a tune whose two-lined form as described above is preceded by a lower line (№227).

3.4.2. Tunes with 4(1)x cadences (ex.34b, №228-229). The character of these tunes is obvious, particularly as the cadence of their third line is often (4) as well. The relationship among the formally rather diverse tunes is undoubted. Cadence change is not infrequent.

3.4.3. Two-lined tunes of Minor character with (5) cadence (ex.35a, №230). Both groups of these tunes are related to the tunes of the previous class, but there are no laments here. First presented are the distinctly two-core tunes.

3.4.4. Multi-lined tunes of Minor character with (5) cadence (ex.35b, №231-232). Next come the tunes with many lines and (5) main cadence.

3.4.5-7. Tunes with 5/4(b3)x, 5(4)x or 5/4(5)b3 cadences and an undulating beginning (ex.36a and №233; ex.36b and №234-236 and №237-238). These three subgroups are brought together by their first undulating or valley-shaped line descending to the keynote or the 2nd degree in mid-line and by their overall descending melody structure. The group with 4/5(b3)x cadences is small and mixed (ex.36a, №233), the 5(4)x cadential group is the largest and most coherent (ex.36b, №234-236), with the group of 5/4(5)b3 cadences being relatively close (№237-238). In the second and third groups the third lines often cadence on b3.