Domin Ki Kone 
Rene Lacaille
A click on the picture and you are on the website of René Lacaille
The gaboussi, who is from Yemen, took Mayotte color is very marked. It has lost its oriental persists, however, Moheli. In Mayotte, he took a shade over Madagascar. It is also closely related to a certain range (mode myxolydien) emblem Mayotte, his
Mgodro and its
voulé .
That said, the gaboussi is a lute on which you can play everything we can think of. For example, it works very well in the Creole music of Reunion and Mauritius. Here is an illustration with
Domin Ki Kone , a beautiful song by René Lacaille.
Rene Lacaille, the entire island of Reunion that overflows with an accordion. An accordion is known as ringing in the Indian Ocean. An accordion that lugging around the world and which he brought out a variety of colors. What he does indeed with all sorts of instruments and all sorts of people, Manu Dibango Bob Brozman.
René Lacaille and Bob Brozman (web source unknown)
This song is the story of a fisherman tossed by the waves which meditates on the random nature of the condition human:
Domin Ki Kone kosa is riveted?
(Tomorrow, who knows what will happen?)
is a pretty song that runs on three agreements gaboussi rarely played at a pace and on Reunion Island, very close
magandja Mayotte. Rene Lacaille sings, accompanying himself on accordion, but it sounds very well gaboussi. The version I give, very cordial with permission of the author, is a personal adaptation, you will find the original on the CD Patanpo (Daqui / France 1999) and
myspace page Rene Lacaille. A word about the rhythm and its notation. This rhythm is both the basis of
sega as
Maloya. It is found on all shores of the southwestern Indian Ocean. It is found in Mauritius and therefore sometimes interpreted in Mayotte. This is not a typical rate Mayotte, Mayotte, but like him. Its uniqueness and its charm is that it is not really binary, ternary or actually (some theorists speak of "trinary") so many
mzoungous Zorey or pulling their hair out trying to understand when in fact it is very easy to play.
From a technical standpoint, if you care enough to read the fine print, times are divided into three fairly flexible. The basic rhythmic figure floats between the "eighth-two doubles" which is too square and the "triplet" is not too regular and more boat. The first note is always on time and frolic behind the other two, more or less tight, more or less dilated, flitting from one pole to another ('eighth double-two "and" triplet "), thereby have effects of accelerated or slowed while the pulse is constant. My notation is very arbitrary. If we played exactly as written, it would be rather mechanical and probably a bit naughty. It's the same principle as the eighth notes in jazz notation is written in eighth regular but nobody would think of play as well.
For that sounds good at the guitar as gaboussi requires that the right hand is always in return so that the eighth falling on the first beat is played down and that which falls on the second time is played uphill. It's pretty confusing at first, but with a little practice it becomes natural.
By clicking on the image, we see and hear how to turn the basic rhythm. a word on agreements. On the CD, the song is in C minor. The agreements are:
Dom / Rém7 ♭ 5 / Sol7 / Dom. It's very classical structure Im / IIm7 ♭ 5 / V7 / Im
This can be done quite easily on a gaboussi granted Sol (Sol Re Si-Si Re-Re), but it takes us a bit further on the fretless neck and it is not obvious at first. It is more convenient to take it in A minor. If it is too low for your voice, you can move the movable bridge, as shown in photos following.
usual position of the bridge 
Easel gaboussi moved to make more acute.
resting position of the bridge.
When we finished playing, we slide the easel
until he presses the handle and not on skin
to avoid "fatigue" it unnecessarily. Clicking on any of these three pictures and you'll see it on video.
In A Minor, the agreements become:
Lam / Sim7 ♭ 5 / E7 / Lam
Here are diagrams of these agreements:
Lam
Sim7b5
E7
I think you have enough time now to have fun. This pace of sega / maloya takes some time to be tamed, but is inexhaustible and then dance all alone under the fingers.
René Lacaille and Bob Brozman (web source unknown) 
E7 
