Vocal-symphonic poetry is based, on the one hand, on features of Tatar and, to a greater extent, general Turkish music characteristic of the pre-revolutionary period.
The 5/8 and 7/8 time signatures that are widespread in the poem, i.e. H. the metric features are characteristics, as in the folk songs Munadjat and Bajet.
[4][5] The second edition uses the following instrumentation:[6] The poem begins with an introduction to the theme of the folk song "A Few Horses" in the text by Tukaj.
This theme, combined with Tukaj's arrival in Kazan, "the city of his destiny", becomes the leitmotif of the main character's fate.
Most of the techniques used in this song, including the diatonic fifth fall sequence, correspond to the style of 1970s Soviet popular music.
The song is based on one of Ğabdulla Tuqay's most famous poems - "Broken Hope", sung to the folk melody "Täftiläw".
In order to make the counterpoint of the soloist's melody and the quotation sound more distinctive, the composer combines them in different time signatures.
The sixth part is written on the poem "Voice from the Murid Cemetery" by Ğabdulla Tuqay, which was created under the influence of Ayaz İshaki's novel "Disappearance in 200 Years".
This part was published with the original words by Ğabdulla Tuqay and a version adapted to the modern Tatar language by Nuri Arslan.
[6] So far, "In the Rhythms of Tukaj" has been performed in concert halls in Kazan, Ufa, Moscow, Saint Petersburg, Yekaterinburg and other cities.
[15] The third song, "The Home Village," is used as the main theme of the second movement in Almaz Monasypov's "Chamber Concerto for Three Flutes and Harp.