Patsy Cline - Crazy

Chant of I.T. Ryabinin, notation by A.S. Arensky. The anthology “USA folk musical creativity” (Washington, 1958). The degree of recitativeness and song of the epic tunes can be different. Second and tertz melodic moves prevail, usually falling within the range of a quart or sext, often with a median cadence at the second level of the fret. With repeated repetition, the refrain varies improvisationally, following the logical accents of the text; the most stable start and end of the melody. In North USA B. 3 types of tunes can be distinguished: 1) single-line tunes with a 12-14-complex verse with three main stresses (“full epic size” according to A. L. Maslov), which exist on Mezen and Pechora; 2) recitative tunes-tongue twisters of "good-sized" size (8-11-complex verse with two basic stresses); 3) tunes close to the songs and related to the many-headed. warehouse characteristic of the Pechora tradition. In B. solo tradition, tunes are not assigned to certain texts. For one or two tunes, the narrator can fulfill his entire epic repertoire. There are even tunes that are common to the whole area (e.g., on Pechora). They do not embody the images of the text, but help their perception, focusing the listener's attention on the content of B.