1. Msitso wokata (First introduction) - 3.55

2. Msitso wawombidi (2nd.) - 3.16

3. Msitso wa wuraru (3rd.) - 4.01

4. Msitso wa wumune (4th.) - 4.18

5. Msitso wa wutlano (5th.) - 5.05

6. Ndano (The Call) - 4.53

7. Ngeniso (The Entry) - 4.09

8. Chidanawana (The small call) - 4.19

9. Shibudu (The corning out) - 3.19

10.Mzeno (The advance & cries) - 7.47

11.Msumeto (The retreat) - 2.19

12.Mabandhla (The Councillors) - 2.35

13 (1a) Analysis of The First Introduction - 3.25

14 (7a) Analysis of The Entry - 6 Timbila xylophones,; 4 Sannhi (alto), 1 Deblinda bass), J Gulu (double bass) and I Njele rattle. Tuning: 96, 456, 412, (368), 372, 336, 308, 276, 248 vps. The note 368 was cracked and went flat and was exchanged with a note taken from another Timbila (372 vs.) There were 13 movements - the last Msitso being a repetition of the first - is omitted here - 2.43

15. Solo introduction or Cadenza, Kuningeta - 0.51

16. Solo cadenza 0.40 Msitso commences - 0.44

17. The main melody carried by the left hand can be heard distinctly - 2.17 - 2.50 - Solo cadenza - 0.42 - Msitso commences - 0.45

18. Demonstrates the complete range of the small orchestra from high treble down to the double bass. Solo cadenza - 0.37 Msitso commences - 0.39

19. With Tokozela cries alter the opening cadenza and also at the end, the dance leader can be heard hitting the ground with his shield and the women can he heard ululating (wo kulungela)

20. Ndano coming before Ngeniso was unusual. There were 16 dancers who took their call while away to one side. The order and style of movements is decided by the leader of the orchestra and the leader of the dancers between them and varies from village to village. There are Tokozela exclamations and cries.

21. The sound of the dancers smacking their shields on to the ground can he heard in the background as they dance in line.

22. Followed by Tokozela cries.

23. In this movement the line of dancers retreats away from the orchestra back to its original position some ten paces away.

24. During this movement, pairs of dancers come out in turn from either end of the line and they dance a pas de deux in front of the orchestra. Then the song is sung to finish the movement.

25. The music is the same as for #1 (not included)

26. (1a) An analysis with one Timbila (alto) in order to show the action of the two hands in the part played by the leader. He establishes the tune and then gives a demonstration of left and right hand, playing first in the middle register, then in the treble and lastly in the lower register:-

Start:. Statement in middle register; Right hand 0.17; Both hands 0.36; Left hand 0.45 Both hands 1. OS; Up to top register 1.15; Slight mistake here; Right hand 1.40; Left hand 1.48; Both hands 2.02; Down to low; Right hand 2.25; Both hands 2.38; Left hand 2.45; Both hands 2.55; in middle register; Coda: 3,18; and End 3.23.

27. (7a) Analysis of Ngeniso with one Timbila - Right hand 0.18; Both hands 0.31; Left hand 0.38; Up the instrument 1.04; Right hand 1.15 Both hands 1 22; Left hand 1.27; Both hands .35; Down the instrument 1A3; Right hand 1.56; Both hands 2.06; Left hand 2.15; Both hands 2.27; and End 2.42

Recorded by Dr Hugh Tracey 1963. First published on Folktrax Cassettes by arrangement with the ILAM 1977.. Copyright: The International Library of African Music.