Бећ цy Мокрањчеви претходници y српској музици радо повезивали обрађене народне мелодије у „смеше“, „сплетове“, или – како Јосиф Маринковић назива своје композиције те врсте – „кола“. Но, тек са Мокрањцем тај музички род достиже своју зрелост, под поетичним именом Руковети, које ће постати синоним за заиста уметнички обрађен и органски јединствен хорски циклус народних песама. Милоје Милојевић вели да су Мокрањчеве Руковети „велике вокалне рапсодије“, „наше народне баладе и романсе“, а но Миленку Живковићу оне су „наш музички епос у коме су опевани наши људи и предели, наше нарави и обичаји, судбинска повезаност нашег човека за родну груду…“.

Петнаест Руковети, насталих у распону од четврт века (1883-1909), одражавају Мокрањчев развојни пут и све битне карактеристике његовог стваралачког лика. Узимајући за њих песме како из Србије у тадашњим границама – пре балканских ратова (што означава поднасловом Из моје домовине И-ВИ и ХШ руковет), тако и из Старе Србије (ВИИ, XИ), са Косова (ВИИИ, XИИ), из Црне Горе (ИX), Македоније (X, XВ), Босне (XИВ), а за Приморске напјеве из Хрватског приморја, Мокрањац је пружио доказе о ширини својих националних схватања.

Уметнички квалитети Руковети заснивају се на више чинилаца. Мокрањац, пре свега, бира песме са изразитим ритмичким и мелодијским профилом; код њега се, између осталог, први пут у нашој уметничкој музици појављују мешовити, несиметрични тактови, карактеристични нарочито за фолклор јужне Србије и Македоније. Трагајући за адекватним тумачењем латентних хармонских особина народних мелодија, он – нарочито у позним Руковетима – неретко замењује европеизовано дурско-молско схватање модалним решењима, укључујући и специфично осцилирање између два равноправна тонална центра. Иако је хорска фактура претежно хомофона, евидентна је брига за мелодијску линију сваког појединог гласа; као успели контраст делују местимичне нена-метљиве а ефектне канонске имитације. Уместо да – као већина његових претходника – све строфе једне песме обради на исти начин, Мокрањац радо примењује варирање у хармонизацији и хорској фактури, реалистички дочаравајући садржај (нпр. увођење солиста или смена мушког и женског хора као интерпретација дијалошких момената у тексту) и психолошки продубљујући израз. Најзад, док грађа неких раних Руковети (И, ИИИ, В) услед великог броја употребљених песама (до 10) делује донекле рапсодично, у каснијим се тај број ограничава на 4-5, а смишљен распоред контраста у њиховом темпу и карактеру не само да обезбеђује чврсту кохерентност целине, већ и буди асоцијације на инструменталне облике (сонатни или свитни циклус).

All Rukoveti was performed for the first time by Mokranjac himself, with the exception of the first one, with the Belgrade singing society; from the eleventh onwards, it regularly happened at a traditional concert on the eve of the New Year (13th). January in the new calendar.

И РУКОВЕТ (1883)

First hand (1883, first performed in 1884. with the choir "Kornelije Stanković") is the only one written in the original for the male choir. it gives away the exuberant temperament of the young author, but also the still incomplete mastery of the form in which he tries for the first time: the abundance of material (9 songs) goes to the detriment of the integrity of the form. However, mokranjac is trying to achieve an internal connection with multiple repetitions of certain songs, for which he had a role model in Marinkovic's car. Thus, the two stanzas of the first poem Bojo Mi, Bojo, given in a strong unison, frame the sung second bright sun, giving it the role of a gakva trio, and the reminiscences to the first and elegiac third poem What is it, Stano Mori (with a solo tenor) will appear later, before the final poem. The lively fourth Song Of The Caravan, Lana moje, already shows the typical Mokranjac gradation procedure through several stanzas, and the skercous sixth said velica is interesting for the consistent motivic implementation of the chorus "dude, OK" in the accompanying voices. In the duet of soloist-tenor and bass Protazilo Pembe Eishas, a somewhat stretched procedure was applied – the reverse Counterpoint procedure. Certainly, the most successful widely elaborated closing song was Baba, which not only brings an effective climax to the entire work, but also announces the future mastery of Mokranjac in using the possibilities of the choral ensemble.

ИИ РУКОВЕТ (1884)

In contrast to the previous, Second hand (1884, прво извођење 23. фебруара 1889) одликује се сажетошћу и економичношћу изражајних средстава. Пет песама – све у ф-молл / Ф-дур – гради компактну целину у пасторалном расположењу. Широко распеваној The sky of the stars and love Smilj Smiljana the dynamic rise in Is it You, Helen?after the baritone solo Mario Resavkinjo the hand ends with a cheerful, humorous song The Buda City.

ИИИ РУКОВЕТ (1888)

Although in volume (nine poems) and variety similar to the first, The third hand (1888, first performance 16. January 1890) it works more compactly thanks to the alternating arrangement of the stanzas of the two poems – formally similar to Rhonda. The dialogue of the male and female choir Sleeping girl, baritone -, bass-or middle-class solo in Tekla water Tekelija, as well as the dark color Alto in My pregnant mother got sick. they provide a rich sound palette. The fourth and fifth songs are intertwined, in the fourth the Mokranjac "orchestral" contratempo, while the sixth Oh My God, Nino. and final This is how the House runs the sevdalian solo tenor Chimbirchice skercozna You have eyes. The final round („I dance, I sing, I like it“) неочекивано успоравање Ларго („No one knows how I feel") reveals a deeper subtext.

ИВ РУКОВЕТ (1890)

Despite the title, The fourth hand (1890, the first 27. December of the same year) is not formally right hand: contains only one song – Mirjano. According to one interpretation, the refrain "La-La" represents the melody of another songs, so it would be about varjanta Ronda А Б А Б А. Постоје три верзије – за соло-бас и мешовити хор (Е-дур), за соло-тенор и мушки хор (Б-дур) и за соло-тенор и мешовити хор (Х-дур). Ово је једина руковет са инструменталном пратњом (клавир + кастањете у рефрену). Чежњиво-страсна солистичка мелодија и 5/4 такт рефрена откривају снажан утицај оријентализованог градског фолклора јужних крајева.

В РУКОВЕТ (1892)

The greatest of all (ten songs), Fifth hand (1892, прво извођење 4. маја 1893) представља први врхунац Мокрањчеве световне музике. И поред разноликости материјала, целина делује компактно захваљујући тематској хомогености, преплитању песама (нпр. What is moving and What are you, or Oh, girl. and Višnjičica), as well as gradation stanzas. The service of characterization the characters are soloists ' dialogues (e.g. soprano and tenor Horse saddle) or choral groups (e.g. Oh, by the mountain and final Come on, mom.). Gradation through horska invoice processing we find in She brought foodin the sixth song Lele Stano Mori we are experiencing a gradual dramatic culmination - from a one-voice beginning to a six-voice peak-what is this attitude one of the most impressive in the whole handwriting.

ВИ РУКОВЕТ (1892)

At the same time as the fifth, Mokranjac wrote and The sixth hand (1892), inspired by heroic poems about Hajduk Veljko, whose works and death are related to the Mokranjac Homeland – Krajina and Negotin. The first performance was on the occasion of the unveiling of the monument to Hajduk Veljko in Negotin, 13. July 1892. years. Opening song The book is written by Mullah Pasha, a heroic ballad, entrusted to a solo tenor with echoes of the choir who repeat his words (the male version is much more extensive). The lyrical scene I grew an almond treeone of the best in the whole cycle. After two short episodes, final I'm sick of Kara Mustafa sounds like an anthem to the Krajina hero, with a powerful but inwardly discerned choral processing.

ВИИ РУКОВЕТ (1894)

The seventh hand (1894), first performed 20. December of the same year in Budapest, wear a subtitle Songs from old Serbia and Macedonia. The tendency towards conciseness of form, started in Otherit becomes a rule here. Five songs are arranged so that after two live – take-off The sea, the source of water and cheerful Who you buy - pace decreases short but strong chorus What's wrong with me?. The witty skerco See grandfather, with effective division by groups, and final round Cheat Danke, изграђено скоро у потпуности на оргелпункту, чиме се призива звук гајди. Након енергичног финала, руковет завршава у пианиссиму. (У рукопису Мокрањца стоји напомена да у See grandfather the first eight should be extensions, which practically gives measure 7/16 instead of 3/8).

ВИИИ РУКОВЕТ (1896)

The eighth hand (1896), first performed 6. November of the same year, it is based on melodies recorded by Mokranjac in Kosovo. Although small in size, it is formally very balanced and resembles a miniature Sonata cycle. Lively and rhythmically stressed the first song Janum in the middle of the village, with Canonical effect in the third stanza, is opposed by melancholic What must the murmur flowshe also has tragic accents. The Lilac branch it acts as a skerco in the structure, while Jump ' round it conjures up the final image of the car disappearing like an echo in the distance.

ИX РУКОВЕТ (1896)

In The ninth hand (1896) four songs from Montenegro were combined. Except widely sung first Senji field, all the rest are short, concise and melodiously narrow — which is characteristic of the folklore of that end. This is why they are extremely intense and require a simple it's also an unusual harmonic solution. The archaic Call of odishu Rosa knits Russian hair and Hunting citizensuntil it is finished Ivan the master with unusual harmony and melodic range of all Terce. The harmonization comes from the Czech mellographer Ludwik Kuba.

X RUKOVET (1902)

The peak of artistic maturity is Uranjak in 1902. written by The tenth handwhich uz Kozara it represents his most successful worldly work. Based on Ohrid songs, she it stands out with a purified harmonic expression, modal solutions and classical form. The first song Biljana canvas notes осцилира између Б-дура и г-молла, украшена канонском имитацијом и прозрачним вокалним комбинацијама. Болна Up to three guns, robust Dinka Dvori meta, miRNA Shoot me and temperamental Sprouting flowers round this arm as a masterpiece of Serbian choral literature.

XИ РУКОВЕТ (1905)

Designated as Songs from old Serbia, The eleventh hand (1905, прво извођење 13. јануара 1906) формално подсећа на Осму, по структури Аллегро – Адагио – Сцхерзо – Финале. Отвара је He wrote to me, Stano Mori, with a dialogue of male and female choir. Follow the emotional Black Mountainwhich Peter used later in his life. opera Kostan. Third song, rhythmic Oy, Lenko, Lenkoin the form of dialogue, she is enriched by speeches in the women's choir. Final round Calugere, black baby доноси енергичан финале и довршава руковет у Ф-дуру.

XИИ РУКОВЕТ (1906)

Predominantly lyrical by content, The twelfth hand (1906, first performance 13. January 1907) includes songs from Kosovo. It stands out Cafnalo flowers, remarkable for purity of melody and aeolian harmonization, with a beginning that begins solo-soprano and tenor before the choir performs. she is preceded by three songs: lively You were a grandfather, then Aman, you walked, full of hidden sensuality, and rhythmically expressive I don't have one, Janum., with an extended melodic range. The final brings Sit mom at a lively, slow pace.

XИИИ РУКОВЕТ (1907)

The thirteenth hand (1907, први пут изведена 13. јануара 1908) Мокрањац се вратио мелодијама из своје уже домовине. Постоје две верзије ове руковети, које се разликују у почетном тоналитету (б-молл и а-молл), као и у обради и распореду. Руковет прати темпоралну структуру сличну барокној сонати – две лагане и две живље песме. Суморна The hero's ring vomited opens the hand, followed by a vivid Oh my god, little Momo.and then Lyra. Celebrate the chickenand cheerful A new car, a new car, with humorous onomatopoeia.

XИВ РУКОВЕТ (1908)

The Fourteenth hand (1908, first performance 13. January 1909) brought songs from Bosnian urban folklore, recognizable by melodic width and melismatics. The first song Kara mother Ali it has the character of a ballad with a strong introduction. Melancholy and richly harmonized Every tree in the forestas well as colorful Girl screaming in the third paragraph. The fourth song What Nomi the grass blurred it is characterized by large melodic amplitude and strong homophonic expression. The last song It is a green pine it combines a light introduction with a lively central motif, building a sonic and rhythmic contrast. The common melodic or rhythmic lines between most songs contribute to the impression of a complete cycle.

XВ РУКОВЕТ (1909)

The fifteenth hand (1909, first performance 13. January 1910) includes songs from Macedonia, similar to the tenth. In elegiac Mary, White Mary it is dominated by fine harmonic polyphony and lively rhythmic narration. Moonlight it has the character of a skerz with metric changes and outlines of the Rondo. God to kill him it is characterized by a five-membered rhythm, and Walk, mother, nine years old it brings an oriental atmosphere through tenor solo. The final song Sejala Dinka bosiljak it uses canonical imitation and ends with an effective final. It is accompanied by Mokranjac's note that "the last eighth in each measure is slightly prolonged", indicating a specific Macedonian rhythm.