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63type of so called third polyphony, when two parts sing mostly in parallel thirds (Boiarkin,1985:18-19). In her 1973 article dedicated specifically to Mordvinian polyphony, B.Uritskaya stressed similarities between Mordvinian and Russian polyphonic traditions,but failed to mention the presence of drone polyphony in Mordvinian singing (Uritskaya,1973).Ex. 13. Mordva. (Uritskaia, 1973:149)Ex. 14. Mordva. (Uritskaia, 1973:151)Despite the differences between these four polyphonic types, we may group thesefour types into two main groups of polyphony: (1) drone polyphony, and (2) heterophonicpolyphony. Heterophonic polyphony is characteristic for Erzia, and the drone polyphonyis present in both regions (mostly two-part in Erzia, with three- and four-part sections inMoksha). In Mordvinian polyphony all the parts are represented by several singers andthey sing as a heterophonic “thick” melody (this is not the case, say, in Caucasia, or theBalkans, where the main melodic parts are virtually always performed by soloists). Scalesystem is anhemitonic, and chords with non-triad structures are usual (Boiarkina, 1985)Mordvinian traditional terminology clearly states the leading role of the middle part inthree-part polyphony: the name of the middle part is Mora Vaig’al (lit. “voice of asong”), top part – Viari Vaig’al (“high voice”), and the base - Alu Vaig’al (“low voice”).KomiKomi consists of two ethnic groups – Komi Zirians, and Komi-Permiaks.Although these both groups practice polyphony, for a long time they were known asmostly monophonic cultures (unlike Mordvinians, who’s polyphonic traditions wereknown for a century). According to the available data, Komi-Permiaks practicepolyphonic singing wider than Komi-Zirians. N. Zhulanova states that polyphonicsinging is particularly important for so-called Komi-Permiaks from the Invensk, who live