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Caprice CAP 21342
Recorded in Addis Abeba 1992 March, 20-26
ETHIOPIA IS A COUNTRY vibrant with music
and a nation where elements of ancient tradition form a natural part of
everyday musical and social life. Even in a big city like Addis Abeba,
traditional music is very much in evidence.
It is present in Ethiopian church music, which is perhaps among the
oldest living traditions of Christian music anywhere in the world. But
folk music too is very widespread in a professional, big-city form. It
has its appointed place in the big Government Theatres and in the many
traditional restaurants, as well as in the small, cosy bars where
singer-poets, asmaris, entertain guests with traditional songs
accompanied by the performer on a string instrument called the masinko.
And in the dance music of hotels and nightclubs, the traditional music
of the common people is a cornerstone of the exciting sound mix of
modern popular music.
And yet these examples come only from the capital, Addis Abeba. Rural
communities in the rest of the country, of course, have a still more
motley and active body of popular music—making for both ordinary
and festive occasions, and for both joyful and sorrowful moments. This
CD presents only a limited selection of Ethiopia's immense wealth of
music and music-making.
Pride of place goes to modern popular music, above all with the
Abyssinia Band, today one of the foremost groups of its kind. The piece
played by the Yared Orchestra represents perhaps a slightly older
trend, though the singer, Aregahegn Werashe, is one of the most popular
of the younger generation.
The traditional heritage is perhaps above all manifested in the
antiquated ceremonial music played by Areru Shegane, Teka Tema and
Yohannes Afework on three embilta flutes. But the religious
songs performed by Lemma Gebre Hiwot, accompanied on the masinko,
and by Alemayehu Fanta to the begena, also belong to earlier
traditions, like Mr Fanta's more worldly lyric with masinko
accompaniment.
Yohannes Afework gives a personal interpretation of traditional
material in his improvised flute variations on one of the basic modes
of Ethiopian music, and so too does Asnakech Worku, singing her own,
profoundly personal lyric on the sorrows of love to her own
accompaniment on the krar.
The Sne Babel Group, finally, gives us a taste of the folk music
— in the big city — from two of Ethiopia's many cultures
outside Addis Abeba.
01 - Lemma Gebre Hiwot - Medina / Zelesegna [04:51]
(trad.)
vocal with masinko acc
02 - Abyssinia band - Yedejih abeba negn [06:47]
"I am a flower at your yard"
(music/text: Abebe Berhane, arr: Abyssinia band)
Hanna Shenkute, voc
03 - Yohannes Afework - Ambassel [04:33]
(trad./music: Yohannes Afework)
washint flute solo
04 - Abyssinia band - Mis men gidifkini [04:22]
"With whom did you leave me"
(music: Girmai Biable/Daniel Aman, text: Girmai Biable, arr: Abyssinia
band)
Girmai Biable, voc
05 - Asnakech Wortu - Tizita [04:50]
(music: trad, text: Asnakech Wortu)
vocal with krar acc
06 - Abyssinia band - Endenew yisemah [05:32]
"Feel the way I do"
(music/text: Abebe Berhane, arr: Abyssinia band)
Hanna Shenkute, voc
07 - Areru Shegane/Teka Tema/Yohannes Afework - Tigrigna [03:19]
(trad.)
3 embilta flutes
08 - Yared Orchestra - Alegntaye [05:33]
"My belonging"
(music: Abebe Mellese, text: Yllma Gebreab, arr: Roha band)
Aregahegn Werashe, voc
09 - Alemayehu Fanta - Salamta [03:03]
"Praise the Lord"
(trad.)
vocal with begena acc
10 - Abyssinia band - Yiberral libbe [04:26]
"My heart is flying"
(music/text: Abebe Mellese, arr: Abyssinia band)
Dawit Mellese, voc
11 - Sne Bahel - Haya wolalome [02:31]
(trad. - wollaita music)
Muleta Mekonne, lead vocal with trad group, vocal, krar, masinko
and drum acc
12 - Alemayehu Fanta - Anchihoyelene / Tizita [07:05]
(trad.)
vocal with masinko acc
13 - Abyssinia band - Esketayew [04:37]
"Till you feel the way I do"
(music: Mogess Teka/Dawit Mellese, text: Mogess Teka, arr: Abyssinia
band)
Dawit Mellese, voc
14 - Sne Bahel - Dowa dowe [03:24]
(trad. - oromo music)
Taddese Alemu, lead vocal with trad group, vocal, krar, masinko
and drum acc
15 - Abyssinia band - Tizita [07:11]
"Memories"
(music/text: trad., arr: Abyssinia band)
Hanna Shenkute, voc
Yohannes Afework
washint flute
Areru Shegane • Teka Tema • Yohannes Afework
embilta flutes
Abyssinia Band
Feleke Hailu, alto sax · Negusse Aseffa, tenor sax
David Kassa, guitar · Nabiu Tesfaye, keyboards
Abiyou Solomon, bass · Elias Bekele, drums
Hanna Shenkute, vocal · Girmai Biable, vocal
Dawit Mellese, vocal · Solomon Shibeshi, vocal
Lemma Gebre Hiwot
vocal with masinko
Sne Bahel
Taddese Ejigu, masinko · Brhanu Sisay, krar
· Solomon Bekele, kebero (drums)
Mekonnen Muleta, choir + lead voc "wollaita music"
Taddese Alemu, choir + lead voc "oromo music"
Hagersh Dennnesa · Hagere Yetemegne · Tsegaye Berta &
Mesfin Terfasa, choir
Aregahegn Werashe
vocal
URBAN TRADITIONAL MUSIC
The traditional music in these recordings is represented by urban
musicians performing "folk music" on a professional basis.
They may be musicians who are, or have been, employed at one of the big
Government Theatres where traditional music forms an important, weekly
recurring item of the repertoire. Or freelance musicians performing at
one of Addis Abeba's traditional restaurants.
One of the performers teaches at the Yared Music School where he trains
professional folk music performers.
All contributors represent a high standard of musical insight and
technique, and they belong to a generation of musicians which has been
actively involved in adapting traditional music for concert
performances — in most cases with a firm dedication to authentic
performing practices.
They have succeeded well, and even today, cassette recordings of this
kind of traditional music sell by tens of thousands. Ethiopia is rather
unique in the way in which these forms of music compete with popular
music in almost the same market.
There are several reasons for this. One of them, presumably, can be
sought in cultural policy during more than a decade of military
dictatorship, until May 1991. At the same time as difficulties were put
in the way of communication with the outside world, support was given
to traditional music. It is hard to predict what changes the more open
society of today may have in store for Ethiopia's ancient traditions of
music.
Up till now, immensely important work of documentation, research and
education has lagged behind. In all these fields, swift and vigorous
action needs to be taken to save irreplaceable cultural values for
coming generations.
The traditional, ceremonial embilta music (track 7), for
example, is one of the musical forms now threatened. Three flautists
play together using a "hocket" technique, which means that each flute
can only produce a couple of notes, so that the melody is divided up
between the performers.
This form of music goes a very long way back in time, and perhaps it
was even being played something like this before the birth of Christ.
Such music is connected with important ceremonies, weddings, funerals
and so on, and with the ceremonial of the nobility and the royal courts.
The leading flautist, Areru Shegane, learned the art as a boy more than
50 years ago, when in service at one of the courts of the period. He
recalls that there are at least 17 different rhythms to be performed on
the embilta. The dance steps executed by the players and
facilitating rhythmic articulation are an important part of music
played on this instrument.
Another example of ancient tradition comes in Lemma Gebre Hiwot's song Medina/Zelesegna
(track 1), which is a specimen of vocal music performed exclusively in
order to praise God. This particular music is associated in Ethiopia
with the long period of fasting before Easter.
The words of such songs of praise, as in many other forms of lyric in
"Amharic" — Ethiopia's most spoken language — conform to
the traditional principle of "wax and gold".
The expression comes from the old cire—perdue technique, in
which, first of all, a wax figure was fashioned and baked into a clay
mould. Molten gold was then poured into the mould to replace the wax as
it melted and escaped. The clay mould was then broken. The text of the
song, similarly, has to incorporate a poetic second sense which
gradually supersedes the first one displayed, just as the gold
supplants the wax.
Mr Lemma accompanies himself on the masinko, a very common
bowed instrument in traditional Ethiopian music. Both the one and only
string and the playing hair of the bow are horse hair. The string is
shortened with the middle joints of the fingers of the left hand
— "in the air", as it were, without touching any fret board. The
soundbox is rhomboid and hide-covered.
Alemayehu Fanta uses the same instrument to accompany his more
"worldly" songs (track 12). The song itself is preceded by a virtuoso
instrumental prelude. The piece is built up round two of the
traditional scale structures which are commonest in traditional
Ethiopian music — anchihoyelene and tizita.
Mr Fanta, who is the only teacher of traditional music at the Yared
Music School, also performs on the ancient begena (track 9).
This is used exclusively for accompanying religious music, but never in
church. Primarily it belongs to the musical world of the former
aristocracy.
The instrument, a lyre, with a box-shaped resonator and 8-10 strings,
sometimes called the "David's harp", most probably has a very ancient
history. Similar instruments are depicted in Jewish, pre-Christian
tradition and related forms are even to be seen in Sumerian sculptures.
The flat bridge produces a buzzing tone which also puts one in mind of
Asiatic instruments.
A smaller, 5-stringed lyre instrument, the krar, is one of the
commonest in Ethiopia's folk music cultures. Both these instruments
have been likened to the classical Greek kithara and lyre, and
attempts have been made to reconstruct the ancient instruments and
their tuning on the basis of present-day Ethiopian instruments and
practice, but on very uncertain terms and with very uncertain result.
Asnakech Worku, who accompanies herself on the krar, is one of
the country's most respected and best-known women artists, with many
years wide-ranging experience. As a singer, actress and dancer she has
entranced a whole generation of theatre— and music—lovers.
Women vocalists employ a different style from the men — more
introvert and less strident. Ethiopian culture defines special
requirements for a woman's expression of her love. The poetry has to
have distinctive qualities. Asnakech Worku presents an old, traditional
melody, Tizita, in a new guise, with her own words about a lost
love (track 5).
There is an instrumental counterpart to this in the form of a solo
piece for the washint (track 3). Yohannes Afework bases his
improvised flute variations on one of the traditional scales, Ambassel.
This type of flute, to be found in large parts of East Africa, is blown
over the edge at one end. The number of finger holes and their
positioning vary depending on the scale to be produced. This particular
specimen has four holes.
Sne Bahel is a private dance and music group performing folklore music
and dances from various cultures in Ethiopia. With lead singers from
several different tribes, it can present a sampler of the country's
musical diversity. Here we have music from the Oromo (track
14), one of he largest ethnic groups in Ethiopia, and from the Wollaita
(track 11). In both cases the music is performed by a lead singer and
chorus (call and response) together with an instrumental accompaniment.
The latter is played on the krar, masinko and a couple
of keberos, the kebero being a small drum with skin at both
ends, played with a pair of drumsticks.
Asnakech Worku
vocal with krar
POPULAR MUSIC
The history of popular music in Ethiopia began, in a manner of
speaking, in 1920, when the ruler Ras Tafari Mekonnin (later crowned as
the Emperor Haile Sellasie I) ordered the formation of the "Bodyguard
Orchestra". This consisted originally of orphans from Jerusalem of
Armenian origin, and the instruments were imported from Europe.
Eventually more orchestras were formed in the army, and these were also
engaged to accompany famous singers. During the 1930s the German Odeon
company and British HMV began distributing records of popular European
and American music of the period, and at the same time a certain amount
of Ethiopian traditional music and patriotic songs.
The Italian occupation, from 1936 until 1941, brought another influx,
of Italian and other European music. At this time there were several
Italian orchestras playing in Addis Abeba.
An important step in the development of Ethiopian popular music was
taken in 1955, with the opening of the Haile Sellasie I Theatre (since
renamed the National Theatre). Actors and musicians were engaged at the
initiative and expense of the government.
Apart from a group of traditional dancers, singers and musicians, there
was also a "modern" orchestra playing western instruments. The
repertoire consisted of new Ethiopian popular music, but also of music
from the rest of Africa, from Latin America, the USA and Europe,
"Ethiopianised".
Ethiopia, unlike other African countries, is usually said to have stood
apart from outside influences, the reason being that the country had
succeeded in preserving its independence and did not have any
"colonial" ties. But the fact is that modern music followed much the
same pattern of development as in the international sphere, with
Ethiopian texts being sung to "twist", rock'n'roll, soul and all the
rest of it.
On the other hand, after the change of regime in 1974, Ethiopia's
business and tourist links with the western world were greatly reduced.
The censorship bureau of the Ministry of Information "kept an ear" on
music taken out of the country — or brought into it! This,
presumably, is part of the reason why Ethiopian music did not achieve
the same international breakthrough as, for example, West African music
during the seventies and eighties.
The new style launched by the Roha Band at the beginning of the 1980s
marked an important turning point in the popular music of Addis Abeba.
The musical idea was a simple one — the traditional style, with
the instruments playing more or less in unison with the singing
(heterophony) was transferred to the modern orchestra.
In addition, the music was "harmonised" — given chordal
accompaniments — and modern, electrically amplified
instruments,like synthesizers, began to be used.
The Roha Band achieved great popularity with its new style and was much
in demand for accompanying the most popular vocal artists of the time.
The group is still active today (1992), mainly as a studio band.
The Roha Band's recordings were rapidly distributed through the music
cassette industry, which accounts for practically all distribution of
recorded music in Ethiopia. Cassettes recorded by the simplest
technique imaginable are reproduced by an equally simple copying
technique — such as a couple of "domestic" cassette recorders
linked together — and editions often run into tens of thousands.
Other groups were forced to imitate the style of the Roha Band in order
to satisfy producers and audiences. The standard forces for a dance
band of this kind came to comprise a modern drum set, bass, electric
guitar, keyboard and wind section (usually comprising a trumpet and
saxophone or two saxophones).
The state-employed groups are affiliated to the Government Theatres,
the private groups to restaurants and night clubs. Until the latest
change of régime (in 1991) there were also a number of groups in
the army playing popular music!
The Yared Orchestra is one of these state-employed groups, affiliated
to the National Theatre. It has a larger wind section than is usually
the case with an "ordinary" night club band — four saxophones, a
trumpet and trombone.
Here this group accompanies singer Aregahegn Werashe, one of the most
popular of the younger vocal stars in Addis Abeba today, who was giving
guest performances with the Yared Orchestra at the time of the
recording. The original arrangement of the very popular song Alegntaye
(track 8) came from the Roha Band, but in this recording the big
orchestra gives it an old-time atmosphere.
Popular songs are very closely bound up with the artist who first
performed them, becoming almost his or her private property. Most
output in recent years has come from a handful of popular composers and
lyric writers, hence the uniformity of style. It is usually the singers
and producers — seldom the instrumentalists — who make
contact with the composers. The arrangements, on the other hand, are
generally made by the bands.
The Abyssinia Band started in September 1991 at the night club of the
Ghion Hotel in Addis Abeba. Most of its members had played in other top
groups of the private sector — night club bands and studio groups
from innumerable recordings made for the local cassette industry. This
group represents the very latest developments in Ethiopian popular
music, and all of its vocalists belong to a new generation of talented
performers.
Their express aim is to gradually transform the so-called "Roha style"
and develop one of their own, with strong traditional roots, partly
with their sights on a market outside Ethiopia!
The songs are mostly about love, as in popular music the world over,
though occasionally there is a nature lyric contemplating some
beautiful place in the home country. Most of the material is presented
in Amharic, the official language of Ethiopia.
Some pieces, though, e.g. Mis men gidifkini (track 4), are in Tigrigna,
which is spoken by another of the largest ethnic groups in Ethiopia.
The rhythm, known as "disco-beat", has for a long time been one of the
most popular among the ethnic groups in the North, due in part,
presumably, to the influence of Italians who have been living in the
region for decades, but also to similarities to rhythms used in local
folk music traditions.
In fact, the same rhythm is also used in Endenew yisemah (track
6), though this is performed in Amharic. Another popular rhythm
straight from the traditional music of the Addis Abeba region is
"chikchika". This is used in Ydejih abeba negn (track 2) and Esketayew
(track 13).
Yiberral libbe (track 10) is something of an experiment by
Ethiopian standards, this being the first instance of a song in Amharic
being performed in a style which, more than anything else, resembles
"high life", or a Zairean "rhumba".
This kind of thing has not been tried previously, but similar rhythms
and others reminiscent of Latin American music are used in traditional
music in the southern parts of Ethiopia. This song also employs an
"ordinary" European major scale instead of the local pentatonic scales.
It has quickly become very popular with the younger generation.
The last number, Tizita (track 15), has already figured in a
couple of more traditional versions. This is an old love song, very
well-known in Ethiopia, about the memory of a loved one. The
arrangement used by the Abyssinia Band closely conforms to previous
recordings by various artists, this being a song which people prefer to
hear without any great changes.
Yared Orchestra
Zeyede Temtime, trumpet · Dangadsew Demissie, alto
sax
Meray Sitote, alto sax · Solomon Abate, tenor sax
Wondmu Tolla, tenor sax · Wondwossen Gudeta, trombone
Tamre W/Yesus, guitar · Lemma Demamu, organ
Chernet Lemma, bass · Zeirun Bekele, drums
SCALE SYSTEMS
Large parts of Ethiopia's traditional music are based on a number of
scale systems or modes. Church music has three of these, and legend has
it that they were revealed to St Yared during a vision in the 6th
century. These three modes, however, differ in more respects than the
pitches. Each of them is associated with various "skeleton melodies",
and they are performed using different vocal techniques. Furthermore,
they are associated with different festivals and different seasons of
the year.
Although a system of notation does exist, also attributed to St Yared,
music at several different schools is passed on mainly by aural
tradition. The notation system, which is presumably of much later date,
possibly from the 16th century, provides only very sketchy information
on how the music is to be performed. Consequently, a variety of
traditions and interpretations have evolved at different schools, with
rather complicated results today from the viewpoint of music theory.
The same applies, but for different reasons, to scale structures in the
more "secular" traditional music. In a society with several related but
still distinct musical cultures, it is difficult, perhaps even futile,
to try and construct a uniform theoretical foundation. After reading a
number of accounts of Ethiopian music, therefore, one is left with an
extremely confusing picture.
The situation is further complicated by intervals, for the most part,
not tallying with European scales, added to which they differ from one
tribal culture to another.
For all these various reasons, the present account conforms to the
approach indicated by the musicians taking part in the recordings. It
should be noted, however, that most of these performers belong to the
Amhara people and are professional musicians in Addis Abeba.
As they see it, use is made above all of four pentatonic scales, kignit,
two of which are sub-guided into two variants each. The term kignit
is connected with the tuning of instruments, but it also includes a
kind of reference to melodic models instead of merely corresponding to
our own "scale", "mode" or "tuning".
To convey some idea of the interval structure of the scales and to
facilitate comparisons, the scales are shown below, with reference to a
western scale beginning on C.
It must be realised, though, that this is a purely theoretical
comparison. The intervals as they actually sound are not in any way
geared to a western tempered scale but can be either larger or smaller
than their European counterparts.
1. Tizita ("memories") — C, D, E G A. (There is also another
version of this which might perhaps be equated with "minor" in western
music theory: C, D, Eb, G, Ab.)
2. Bati (a place name in the Wollo region) — C, E, F, G, B.
(Bati, similarly, also occurs in a "minor" version: C, Eb, F, G, Bb.)
3. Ambassel (another Wollo place name) — C, Db, F, G, Ab.
4. Anchihoyelene ("you cry out to me") — C, Db, F, Gb, A.
Alemayehu Fanta
vocal, begena and masinko