48	Nga i lile, vhana vhanga! Sing up, my children!
49	Bvumelani zwi vhe zwivhuya! Join in the chorus, so that everything may be good!
50	A ni bvumi, ni a hononwa (honona): You're not responding; you're dragging:
50a	mavhuwa a hononwa: The chorus is just like an empty space:
50b	Ndi tshi sima ni a hononwa: When I sing the solo, you respond half-heartedly:
51	Ndi tshi sima ni a : When I sing the solo, you just stand there showing off:
52	Ni vhona ndi si khomba ? Is this because you see that I am not your usual instructor?

When the solo is sung by another master (khomba or nyamungozwa), who may for example be visiting a domba school, the novices may not at first sing well, because they are not used to his voice. In such cases, the visitor sings lines 50-52.

53	Fhumula! Ndo u pfa, muzwala! Be silent! I have heard you long enough, my friend (lit. cross-cousin)!
54	U sa sime u nga tshilombe! You can't go on singing (non-stop) like one who is possessed!
55	Phalula vha u fha mini? What reward will you be given?
56	Vha fha kupandavhudzi: They will give you only a little goat:
57	Kupuka ku no bva malofha. A little beast which gives more blood than flesh.

If someone wants to take over from the soloist, he interrupts with these lines, offering to help and pointing out that there is no need to overwork. He refers to possession dances (ngoma dza midzimu), where the master-drummer (matsige) is both well rewarded for his work and is expected to be possessed when he plays. There is also an implied reference to the goat which is paid by a lad who has deflowered a girl, so that medicine may be made for her from it. It is called phalula.

58	Ndi domba- si na khulo? What kind of a domba is it without khulo?
59	Vhasidzana, tivhani khulo! Girls, sing in khulo style!
60	Khoro khulu ya Vho-Nyadzani: The great meeting-place of Vho-Nyadzani:
61	Ri dzhena nga mukwana-. We go in along the big path that leads to the chief's place.

After some minutes, the simple choral response of the novices develops into a full 'harmonic' chant in yodel style, which is called khulo (see musical transcription bars 13 and 14). This is also used by parties of women carrying gifts of beer, both as gifts to families involved in marriage relationships and as tribute to rulers. The sound of khulo from a ruler's home is a sign of wealth and power, whether it be made by parties of women bringing tribute, or by the loud and vigorous chant of domba novices. Vho-Nyadzani refers specifically to the late chief at Thengwe during the earlier part of this century. The names of other chiefs may be substituted.