4.1. Ionian Caramazan songs (ex.37-38, №239-307)
4.1.1. Two-line Ionian Caramazan motives (ex.37/1-5, №239-260). I put in order the motives of one- or two-lined Ionian Caramazan tunes cadencing on (b3) by the height of the hill traced by their first line. These and the Caramazan tunes of Minor character typically consist of several varied motifs, yet often one or a few of the motifs presented here dominate the whole process.
As an exception, the cohering force of this group is the unique +>+>&@ $ rythmic pattern. I subsumed under this group the tunes of Phrygian character but identical form, as well as some Aeolian №268 and №273.
Two lines
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middle of 1st line
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scheme of first lines
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Ex.
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№
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1)
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(1)
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A-A-A-A|F-F-E C
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ex.37/1
|
№239
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2)
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(b3)
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G,-C-C-C|E-D C
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ex.37/2
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№240-244
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3)
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(4)
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G,-D-D-D|D-E C
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ex.37/3
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№245-248
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4)
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(5)
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C-C-D-E |D-E C
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ex.37/4
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№249-254
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5)
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(6/7)
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G,-C-D-F|E-D C
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ex.37/5
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№255-260
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Example 37 Two-lined Caramazan motives
4.1.2. Four-lined Ionian Caramazan tunes (ex.38/1-8, №261-307). I present them below in the rising order of their main cadences.
|
Cadences
|
scheme of line 1
|
|
scheme of line 2
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Ex.
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№
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1)
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b3 (4)x
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C-C-C-C | C-D D
|
|
|
B-B-B-D | C-C C
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38/1
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№261-263
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2)
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4|5(4)x – 6(4)x is
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C-D-D-D | C-D-D
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|
|
C-D-E-E | C-C C
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38/2
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№264-269
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3) |
|
(4) or (b3) tripodic!
|
|
|
|
38/3
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№270-278
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4)
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4(5)x
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G,-C-D-D | D-F E
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|
|
C-D-D-D | D-E C
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38/4
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№279-285
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5)
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4(5)x
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C-D-D-D | D-F E
|
|
|
F-G-E-E | D-F E
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38/5
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№286-292
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6)
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6/ 5(5)x Phyrigian
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D-E-E-E | D-E E
|
|
|
D-D-D-D | C-C B
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38/6
|
№293-299
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7)
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6/7(6)y
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C-F-F-F | E-F F
|
|
|
C-F-E-D | C-C C
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38/7
|
№300-302
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8a)
8b)
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6 (7)y
7/8(7)x
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C-F-F-F | E-F-G
C-G-G-G | G-G G
|
|
|
|
E-F-E-D | E-C C
D-G-G-F | E-D C
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38/8a
38/8b
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№303-306
№307
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Example 38 Four-lined Ionian Caramazan tunes