In solo genres, the akyn sings or recites their own or borrowed text, accompanying themselves on the komuz or kyl kyak. In these genres, akyns of various levels and styles perform, and it serves as a specific school for novice akyns to refine their performance style. Furthermore, solo genres of akyn creativity allow the author to concentrate the listeners' attention on what personally concerns them, showcasing their creative individuality.
Depending on the specific figurative-thematic focus, solo akyn genres are grouped into the following categories: didactic, panegyric (praise), comedic, and historical.
The first group of genres, in turn, has subtypes: "model song" ("ulgu ыры"), "instructive song" ("sanat ыры"), and "advisory song" ("nasyiyat ыры").
In the song ulgu ыры, the harmony that a person should strive for, order, and purposefulness are discussed. It is a set of rules for behavior in the form of intoned wise sayings. The song provided below illustrates the musical and poetic features of this genre of solo akyn didactic "terme":
The beauty of the land is in the land of the Kyrgyz,
The beauty of the sky is in the stars,
The beauty of the pass is in the snowy peaks,
The beauty of the foal is in its tether.
Sanat ыры is a genre in which moral education is conducted through philosophical aphorisms, proverbs, and advice:
If your horse is not good,
Where will you find a steed for yourself?
If your older brother is not good,
Where, tell me, will you find kin?
If you scorn the straw,
Where will you find hay?
Nasyiyat ыры has historically developed as a genre whose meaning lies in cultivating moral qualities through oral propaganda of knowledge about the truths of life. A variation of the genre "nasyiyat ыры" is kalys ыры ("just song"). The rounded wave-like phrases of "Kalysyry" by J. Kozhekova convey the unhurried flow of musical and poetic thought:
The sacred forests are meant for Man,
The free pastures are created for the Earth,
Gold and bronze exist for the Master.
For most songs with didactic content, characteristics include balanced rhythm, free meter, a relatively developed melodic pattern of the vocal part, and strictly subordinate instrumental accompaniment to the singer's voice.
The second group of solo akyn genres consists of songs of a solemn-panegyric nature. The leading place here belongs to the congratulatory song kuttuktoo ыры. This is a kind of ode to the virtues of a specific person or group of people.
Closely related to this genre is salamdasuu ыры ("greeting song"), which represents a type of toast. Kyrgyz improvisational akyns traditionally open their public performances with this song. Another variation of the genre is the song jar chakyruu ("announcement"), with which the akyn-improviser, in the role of a herald, proclaims a significant event at traditional folk celebrations "ash" or "toi," inviting everyone to share in the celebration.
Maktoo ыры is praise in honor of an outstanding personality from the past or present, possibly including someone present at the akyn's performance. A hymn may be sung in honor of a fellow artist — akyn, manaschy, etc.
A high authority allows the akyn to intercede for someone or address someone with a personal or other request, and they will surely find understanding. In this case, they resort to the genre kayryluu ыры ("address song"). Finally, in rarer cases — supporting a person in grief or misfortune — the akyn resorts to the genre konul aituu ыры ("sympathy song").
The third group of solo akyn songs includes "terme" of a comedic nature (ironic, humorous, grotesque, satirical, playful). In the works of this group — the so-called kordoo ыры ("song of reproach") — unworthy actions are criticized in a sharp accusatory form. Classic examples of this genre were created at the end of the last century by Toktogul Satylganov, who ridiculed the greedy beys in the guise of predatory animals. His song "Five Boars" ("Besh kaman") is directed against five feudal lords of the Suusamyr region:
Deceivers Akmat and Dyykanbai,
Liars Akhtan and Minbai,
Egemberdi-Baktiyar —
Robbers of the people.
You, gang of five boars,
Robbing the people, as before.
But the people will not give you not only a sheep
From their flock,
But even sheep dung!
Two more variations of "terme" fall into this group: tamasha ыры — a good joke, friendly criticism, and takmaza ыры — sarcastic, biting mockery.
The fourth group of solo akyn songs consists of so-called eskeruu ыры, or eskerme ыры ("songs of remembrance"), which are classified as a historically-portrait genre. In them, the akyn-improviser recreates someone's image from the past. This also includes the art of creative portraiture.
To this type of akyn genres can be attributed the song "My Komuz" ("Komuzyum") by Satara Jumabaev — a kind of "portrait" of the Kyrgyz national instrument:
Oh, my komuz!
My komuz has flown into space.
The thoughts of wise people
Are known by my komuz.
The people rejoice, celebrate —
With it, my komuz sings a song.
Those who harbor enmity against it,
Will not be allowed even close —
My komuz will drive them away.
This group also includes "narrative songs," which should be defined as the genre bayan doo ыры. This is a specific akyn variety of the historical song genre. As examples of "bayan doo ыры," we can cite "The Song of Shabdan" ("Shabdan ženun de ыры") and "The Song of the Uprising of 16" ("16-жылкы эл кетерулуш ыры") by unknown akyn authors from the early 20th century, as well as the song by Atai Ognbaev "Er Panfilov" ("Hero Panfilov") about a hero of the Great Patriotic War.
The next three groups — instrumental, vocal, and epic genres — are not specific to akyns.
For example, "kerbez" is a genre of instrumental music. However, folklore studies recognize 14 vocal-instrumental "kerbez" by Toktogul Satylganov, who can evidently be considered the founder of this genre. In this form, "kerbez" becomes a specific akyn genre. Unlike the brilliant, virtuosic komuz "kerbez" (literally, "pompous, dandy"), the vocal ones are lyrical and poetic.
Akyns also successfully perform purely instrumental genres "shyngyrama," "botoy," "kambarqan," and various programmatic and non-programmatic pieces of medium scale "kol oinotmo kuu."
In vocal lyrical genres "arman," "sekhetbay," "kuygen," youth "kyz-jigit," and ritual "koshok," "joktoo," "kereez," "uguzuu," akyns bring performance brilliance, stylistic individuality, elevating them to a high professional level.
Finally, akyns enrich epic narration with truly musical intonation.
Vocal and narrative (epic) genres are performed by akyns in a manner characteristic of this specialization, that is, they realize virtuoso mastery of "terme" and the komuz.
