The transcriptions are based on field recordings made in the Sibasa district of the Northern Transvaal between 1956 and 1958. The songs were performed by adult men and women, whose musical function was chiefly to lead the singing, and by the girls who were novices under their supervision. I learnt to sing most of the songs, and to play the drum parts to the satisfaction of my mentors. Although I first made transcriptions of complete performances, I give in this paper only the musical patterns which are repeated. The recreational songs (Nos. 20-30) may be repeated for between seven and twelve minutes: variation is achieved by changes in the words of the solo part, by changes in the texture of the chords by parallel singing at the octave, fifth or fourth etc. and by the movement of the dancers over different areas of the dancing ground. Songs that accompany the individual actions of novices (Nos. 1-5, and 9) are repeated until all have had their turn, and the others are repeated for about three to five minutes.

Transcriptions are given in the pitch of actual performances in particular areas, because I found that masters of initiation tended to use almost the same pitch for every performance of the same song. Even if they began off their usual pitch, they generally settled into it within a few moments. After three or four minutes, they often left the girls to sing both the solo and chorus parts, generally to syllables such as hee, aa, ahee etc. In the transcriptions the normal chorus parts are distinguished by being underlined. Where solo and chorus overlap in the same bar, the appropriate rest signs are generally inserted for the sake of clarity.

In the transcriptions, clusters of sharp and flat signs are not intended to suggest key signatures, but to save repeated marking of sharpened and flattened tones. Alternative tones, or subsidiary chorus parts, are given in smaller notation, with tails in a different direction. Alternative rhythms are given above the staff lines also in smaller notation. The pitch of tones was not significantly different from the notes in the transcriptions to justify the use of half-sharps and -flats, or even signs to indicate that tones were slightly sharp or flat. Some songs were repeated a few times before steady intonation was established, especially when the novices were not sure of their parts.

The pitch of drums was relative, rather than absolute. However, there was a tendency for singers to adjust their pitch to suit that of the drums. This may have also accounted for the fact that singers did not usually raise the pitch of the songs during long performances to the extent as, for example, in beer-songs. As far as I could calculate the pitch of each drum both with my ear and a Stroboconn, I have marked them with three breves at the beginning of each transcription. From top to bottom of the staff, the breves indicate the approximate pitches of the alto, tenor, and bass drums respectively. When weather is wet and drum skins are not taut, it is almost impossible to determine pitch.

The parts of the alto and tenor drums are marked in smaller notation than those of the bass drum. The tenor (thungwa) sets the basic meter, and the bass (ngoma) adds the counter-metre. The two or more alto drums (mirumba) then fill out respectively the tenor and bass parts. This is illustrated in detail in the transcription of Song No. 8. The same principle is followed by the alto drums in all other accompanied songs, unless other indications are given. The sound of each drum beat does not, of course, reverberate for more than a moment after the skin is struck, but rests are not generally given in the transcriptions, so that note-values may indicate at a glance the patterns of rhythm. Alto drums are always played with the hands, and the tenor and bass drums with a stick.

The transcription of Song No. 24 illustrates how in almost every performance of any accompanied song, the full ensemble builds up from the first solo 'call', which is often sung rubato, to the entries of the chorus and the tenor, bass and alto drums, until the chorus itself expands from a simple unison response with words to two or more parts sung in parallel motion or in partial 'harmony', as in the choruses of Songs Nos. 17a and 8. Thus, any of the parts ascribed to the chorus in the transcriptions may be sung independently or together.

In Song No. 24, the dancers clap their hands above their heads at the points marked with a cross, and then repeat the section between the crosses six more times before repeating the claps in the same way.

The repeated parts of each song are given between double bar-lines. When the basic pattern of the song consists of two repeated sections - (A+A+A'+A')+(A+A+A'+A') etc. - as in Songs Nos. 4 and 22, standard repeat marks are given for each section, with dotted double bar-lines. One song of this type, No. 16, has been written out in full.

Phrasing generally follows the patterns of the words, and it has not been marked unless there might be some doubt, or the phasing is particularly striking. Straight lines from one note to another indicate prominent glissandi . The style of singing is always legato , and in stressing the rhythm of a melody, many singers tend to give the first of each group of quavers slightly longer time-value than its successors. For example, in Song No. 1, the chorus may be sung: Rhythmic stress in songs which are not generally accompanied by drums is indicated chiefly by bar- and half-bar-lines, and by the choice of crotchet or dotted crotchet as the basic metrical unit. In many performances the metre is emphasised with hand-clapping.

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