Ethiopian Music: From beautiful Sacred Hymns to Global Fusion

Music plays a significant role in shaping the culture and identity of a country. It reflects the history, traditions, and diverse influences that have shaped the musical landscape over time. Ethiopian music is no exception, with a rich and vibrant history that spans centuries. In this article, we will delve into the evolution of Ethiopian music, exploring its traditional roots and its modern status in the contemporary music scene.

Ethiopian music has a long and fascinating history that dates back to ancient times. It is deeply intertwined with the country's culture and has been a means of storytelling, celebration, and expression for generations. 

The Ethiopian music is characterized by a fundamental modal system called Kignit (ቅኝት), which consists of four main modes: tezeta, bati, ambassel, and anchihoye. All of which we will see in detail in this article. 

These modes, or scales, form the foundation of Ethiopian music and give it a distinct sound and character. Each mode has its own unique set of pitches and intervals, creating a diverse range of melodies and harmonies. The Kignit system has been passed down through generations, with musicians and singers mastering the intricacies of each mode to create captivating and emotive music. Ethiopian music has also been influenced by various external factors throughout its evolution. 

Ethiopian people’s tendency to appreciate and adapt foreign art with open mindedness has exposed the Ethiopian music to a wide range of musical traditions and styles. This has resulted in a fusion of different musical elements, creating a unique blend of sounds and rhythms. 

In recent years, Ethiopian music has experienced a resurgence in popularity, both within the country and internationally. Modern Ethiopian musicians have embraced their cultural heritage while incorporating contemporary elements and experimenting with new genres. This blending of traditional and modern styles has given rise to a vibrant and dynamic music scene that appeals to a wide audience. 

Ethiopian music has also gained recognition on the global stage, thanks to the works of various artists gaining widespread acclaim for their unique sound and artistic expression. Some of these musicians, who are adored by every music-loving Ethiopian, include Aster Aweke, Mulatu Astatke, Tilahun Gessesse, and Mahmoud Ahmed from the older generation, as well as Tewodros Kassahun (Teddy Afro), Rophnan Nuri, and Bruktawit Getahun (Bety G) from the younger generation. 

These musicians have not only preserved the traditions of Ethiopian music but have also pushed the boundaries, explored new horizons and collaborated with artists from different genres. In conclusion, Ethiopian music is a testament to the rich cultural heritage of the country. Its evolution over time has been influenced by historical, cultural, and external factors, creating a diverse and vibrant musical landscape. 

From the ancient Kignit system to the modern fusion of traditional and contemporary styles, Ethiopian music continues to captivate audiences and inspire musicians around the world. In the following sections of this article, we will delve deeper into the specific periods and milestones in the evolution of Ethiopian music, shedding light on its significance and impact.

Saint Yared (ቅዱስ ያሬድ) -The father of Ethiopian music

Saint Yared is considered the father of Ethiopian music because he is credited with creating the musical notation system used in Ethiopian Orthodox Church songs. According to tradition, Saint Yared lived in the 6th century AD and was a scholar and composer who served as a cantor in the Ethiopian Orthodox Church. 

Legend has it that Saint Yared was inspired by a vision of angels while praying in the church, who showed him a unique system of musical notation. Many religious songs and hymns written by St. Yared are dedicated to specific seasons, months, saints' days, and festivals, as well as the Holy Trinity. He divided his hymns into four distinct melodic sections. The four seasons of the year—winter, summer, spring, and autumn—were each represented by a song. 

He gave the title Deggua (ድጓ) to the great book that contained these church hymns. In Tigrigna, the word "deggua" refers to songs of mourning, lamentations, or higher understanding. The title "Mahlete Yared" (which translates to "treasury of hymns or songs of Yared") given to the great Degua also means "treasury of Yared." 

He prepared the Deggua in the three chanting styles used in the church, referred to as Geez, Ezel, and Ararai, respectively. Geez denotes the straightforward chant for typical days, Ezel denotes a slower, more somber beat for funerals, and Ararai denotes a more jovial, carefree mood for significant festivals. The Father, the Son, and the Holy Ghost are said to be represented by the three modes: Geez, Ezel, and ararai, respectively. 

Saint Yared is also credited with composing many hymns and songs that are still sung in Ethiopian Orthodox Church services today. His contributions to Ethiopian music and culture have had a significant impact on the country's artistic and religious traditions, and his legacy continues to be celebrated and honored by Ethiopians around the world.

The Ethiopian Music scales (Kignit - ቅኝት)

Kignit are secular musical scales developed by Ethiopians by taking inspirations from Saint Yared's styles. Kignit consists a set of intervals defining the mode of a musical piece or the tuning scale of the instrument playing the piece. There are four main Kignit scales that are used, all of which are pentatonic: Tizita (ትዝታ), Bati (ባቲ), Ambassel (ዐምባሰል), and Anchihoye (አንቺሆዬ).

• Tizita:

The Tizita scale is often used in Ethiopian music to convey a sense of nostalgia or melancholy. This scale is often used in slow, emotional songs, and is played on a variety of instruments, including the krar, and the masinko. Modern Ethiopian artists who have performed tizita songs include Aster Aweke, Hailu Mergia, Bezawork Asfaw, Teddy Afro, Mulatu Astatke, Meklit Hadero, Seyfu Yohannes, and Mahmoud Ahmed. 

Mahmoud Ahmed is considered “The King of Tizita” while Bezawork Asfaw is considered “The Queen of Tizita”. Here is a collection of some of the best Tizita songs by Bezawork Asfaw.

• Bati:

The Bati scale is a variation of the heptatonic Tizita scale, with the addition of a minor third and a minor sixth. The Bati scale is often used in faster, more upbeat songs, and is played on a variety of instruments, including the krar and the masinko. Here is a collection of some great Bati songs!

• Ambassel:

The Ambassel scale is a pentatonic scale that is often associated with the Amhara region of Ethiopia. The Ambassel scale is often used in songs that are celebratory or uplifting, and is played on a variety of instruments, including the krar and the masinko. In Ethiopia's Gonder and Wollo regions, a pentatonic scale called the Ambassassel scale is frequently used. The scale's notes are C, Db, F, G, and Ab starting from the note C. It can be seen as a mode of the Hirajoshi scale or as a pentatonic subset of the Phrygian scale on the intervals 1, 2, 4, 5, and 6. Ethiopian music employs the scale for songs with historical undertones. On their album Duo Ras Dashen, it can be heard being used on the song "Ambassel" by Abate Berihun and Yitzhak Yedid.

• Anchihoye:

The Anchihoye scale is a pentatonic scale that is often used in songs that are slow, yet lively and danceable, and is played on a variety of instruments, including the krar and the masinko. The video below is best to understand this scale.

Each of these scales has its own unique sound and is used to convey different emotions and moods in Ethiopian music. They are an important part of Ethiopia's musical heritage and continue to be used and appreciated by musicians and music lovers around the world.

Modernization of the Ethiopian music

Western music was first introduced to Ethiopia in 1923, when Kevork Nalbandian was hired by the Ethiopian government to put together what would become the Ethiopian National Defence Force Band, the nation's first military marching band. The group gained widespread acclaim very quickly, which prompted the formation of additional bands and hastened the fusion of Western-style music with indigenous Ethiopian instruments. 

The transformation of traditional Ethiopian music into modern Ethiopian music has been a gradual process that has taken place over several decades. Modern Ethiopian music is heavily influenced by Reggae and Western music styles, particularly jazz, funk, and soul, which were introduced to Ethiopia in the 20th century through radio broadcasts, records, and visiting musicians. In the 1960s and 1970s, a new genre of Ethiopian popular music, known as "Ethio-jazz," emerged. This period is known as “The Golden age of Ethiopian music”. 

The musical era involved a blend of traditional and folk genres as well as soul and funk. The central innovation was the "Ethio-jazz" music, and musicians Alemayehu Eshete, Tilahun Gessesse, Mahmoud Ahmed, Mulatu Astatke and others were prominent in this era. 

Ethio-jazz combined traditional Ethiopian scales and rhythms with Western jazz and funk influences, creating a unique and innovative sound that was both traditional and modern. In the 1980s and 1990s, a new generation of Ethiopian musicians emerged who were influenced by a wider range of Western music styles, including hip-hop, reggae, and electronic music. These musicians incorporated Ethiopian scales and rhythms into their music, creating a fusion of traditional and modern sounds. Today, modern Ethiopian music continues to evolve and change, with new artists and genres emerging all the time. However, traditional Ethiopian scales and rhythms continue to play an important role in modern Ethiopian music, providing a unique and distinctive sound that sets it apart from other world music genres.