Kaba of the two-part type: kaba and dance.

The first part of the kaba is elaborated as the Tosk lyrical kaba combined with the features of the texture of the men’s isopolyphonic dance. Its beginning is in the lower register of the gërnet in an impressive dialogue with the violin, as found in the great tradition of the Tosk Kabas of Leskovik and Permet in the first half of the century XX. The middle part takes on strong mourning hues where the violin, though in the role of cutter, emphasizes the elegiac tone even more through going to its upper register. Throughout the first part of the kaba, the looseness of the instrumental texture of the gërnet stands out, which seems to imitate the imaginary body movements of  Myzeqe dancers.

The second part of the kaba, the dance, has several melodic layers like Tosk, Lab and Minority ones.

The originality in Nexhipi’s interpretation of this kaba stems from the fact that knowing internally the values of folk singing and dancing of Myzeqe of Fier he recreated the tradition of this area through his gërnet.