Figure 3. Illustration of the transformation process by which khulo is related to tshikona, and summary of modes and basic chord sequences. Click on examples a), b), c), d) and f) for sound.

(a) Part of the music of tshikona, transposed down a semitone.

(b) Khulo (see bars 15-18 of domba).

(c) Transposition of tshikona to the same pitch as khulo. Note the f natural and the position of the tritone.

(d) Transformation of tshikona, rewriting d" as phala instead of a". Note how the position of the tritone differs from tshikona in 3c, but agrees with khulo in 3b.

(e) The three modes used in tshikona and khulo, rewritten without accidentals.

(f) The harmonic basis of khulo. The sequence of chords also fits the tshikona pattern, regardless of the different modes used.

Note: the figures indicate the number of semitones in the intervals of the modes.

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