62	U lidze khulo ya ningoni! Play khulo (like an instrument) through your noses!
63	Bvumani nga maningoningo, Sing up through your noses,
64	Nga maipfi a Vho-Ndomwane! (And vocalize) with the 'words' of Vho-Ndomwane (referring to syllables used in khulo)!
65	Vha lidze dzingoma! Play the drums nicely!
66	Ni si lidze mavhilivhili! And don't play them too fast!
67	Murumba godi nga i lile! (cf. line 18). Play up on the alto drum(s)!
68	, funza(ni) Gumani! You who are taking over, teach Gumani (to drum properly)!
69	(Ndi') Tshaela mingaba ri ! (I say,) Crack the whip and let the chain of dancers go!
69a	Tshaela goloi ri ! Drive the lorry, and let's go!
70	ndi zwi ita hani? And what shall I do?

Lines 69 and 69a (a modern version) are signals to the girls to start moving forward and anti-clockwise round the dancing-ground.

71	Mufari wa deu u farese: When you dance deu, you must hold each other tightly:
72	U si fare deu madebe; You must not hold each other clumsily;
73	Yo khanwa yo fa yayo. Otherwise the line will break and its head will fall off (lit. die).

Lines 71-73 refer literally to the correct way of dancing deu (the domba chain). They also refer symbolically to an erection: if a husband and wife are lazy about making love and do not hold each other tightly, the penis may slip out and `lose its head', so that there is no hope of pregnancy.

74	ro tshina tshikombe: This year we have danced domba badly:
75	Tshikombe tsha manyamanya. The domba is all wrong; the dancing is hopeless.
76	Ya swika tshikhati i ime: The time has come to end our song:
77	Ndi a ni pfa ni a rabela. I can hear that you are tired of singing (lit. praying, complaining).
78	Ya mona luvhili i ime! Let the deu go round twice more and then stop!
79	Ya ri gudu yo ritha vhula. Gudu has stirred the entrails.
80	Ya gudu yo wela tivhani. Gudu has fallen into the pool.
81	I tshi , i ya malivheni. When it goes away, it goes to the depths of the pool.

These lines are sung at the end of the song, which should be completed with line 79, 80 or 81. Most people say that line 79 refers to the moment of ejaculation, when the penis is right inside the woman. But one distinguished master, who was by no means a prude, insisted that gudu refers to the bass drum. Similarly, line 81 is said to refer not to the sex act but to the disappearance of offerings of meat into the pool Maneledzi (see mulayo No. 27 ), when the Mbedzi clan worship their ancestors. The expression is also used at the girls' initiation, sungwi, and especially when Nonyana disappears (van Warmelo 1932:83, 84 and 88).

82	Zwa nkunda ndi a kumedza: I have had enough and I hand over:
83	Wa ndavhelesa u ya wa. You (can) see me falling (with fatigue).

When a soloist is tired of singing, he uses these words to indicate that he wants to hand over to another.