Examining the concept of Kaba, we may deduct that it comes from other musical realities such as ‘fractality’. ‘Fractal’ is an abstract object used to describe and simulate naturally occurring objects. The term comes from the Latin ‘fractus’ which implies something crunchy, or rather, disorderly. Fractal dimensions of different parts of a fracture surface were determined using the method of fracture profile analysis. Our idea to regard the Kaba pattern within its structural view is to observe the tendency of structuring the ‘disorder’. The two-part structure of the Kaba and the process of change, as part of the modus operandi, aims at a ‘demolition’ of the first unit in order to ‘construct’ another one of the sort. This is the most visible movement, which marks the ‘fracture’, the first disorder state of Kaba. The fracture is extended vertically in the interpretation of Kaba with the instruments that make up the Saze and with the parts that make up the whole. A question may be raised: What are these parts?

          Here is another form of ‘fracture’ appearance. Starting not from the first voice/part, that of the clarinet, but from the second, that of the violin, it can be seen that this is the voice/line that ‘interrupts’ (i.e. makes a counterpoint) the ‘taker’s’ part with a range of disorderly variations. The configuration of Kaba emerges always from the bottom, from the level where are ‘born’ and ‘die’ the native formulae. Further, the stylistic blend of the subject matter is very much part of this expansion. The various textures and ‘organisms’ aim to prove the unity of their coexistence. Earlier stylistic elements/features, ‘new’ and ‘old’ musical textures, melodic skeleton of vocal or instrumental parts, including of course the iso, are found in the structural body of the Kaba.

          It is commonly believed by its performers and creators, that the ‘Kaba is born from pain’. This implies that the Kaba derives from some substrates that is not easy to get to the bottom simply because their identification and clarification becomes impossible. The heterogeneity of Kaba, which interweaves elements of artistic expression of this prototype of our music, could also be another facet of fractality.