“Master Vangjel’s Kaba” is a continuation and a natural development of traditional Tosk Kaba with pastoral motifs created by Selim Asllan Leskoviku with friends. “Master Vangjel’s Kaba” appears with two parts: kaba and dance.

The first part, the Kaba is considered as the “quiet kaba” and the role of the gërnet is closely related to the exploration of the natural environment where he and his Saze’s fellow carried out their activity. In his Kaba we clearly feel the relationship between the man and the beautiful nature of the area of Përmet and Leskovik, which is expressed through the sound panorama of the entire space of the music register of the clarinet. Quite clearly we find that the gërnet seems to sing, so similar to the singer in the way of articulating the sound. This model of “Master Vangjel’s Kaba” was later absorbed by the most folk clarinetists of Southern Albania who called it “Kaba with the finger of master Vangjeli”, recognizing his merit of structuring this type of pastoral kaba. The second part, the dance is a 2/4 music that expresses joy and is typical for the dances of girls and women in the area of Leskovik and Përmet.

The most preferred composition of Saze groups has been: 1 clarinet, 1 violin and 2 lutes. Master Vangjeli often used a specific composition with 1 gërnet, 1 violin and three lutes. The drums were not used in the first Saze formations, both in Përmet and in Leskovik.

The musical recordings of this Kaba were realized with the participation of master Mediu in gërnet and flute; Mitroja (Vangjeli’s brother) in violin, lute and singer; Nesim Meko from Përmet in violin and singer and Abaz Delvina in tambourine.