VOCAL PERFORMANCE

Level- I
Based on Sept. 2013, Version 1OS and
Apr. 2021 Curriculum

Module Title: Applying Ethiopian Basic

Kignits/ Scales
LG Code: CST VOP1 M04 LO1-3-LG-10-12
TTLM Code: CST VOP1 TTLM 0421v1

April 2021

Adama, Ethiopia
LG #10 LO #1- Sing the popular Ethiopian
Kignits

Instruction sheet
This learning guide is developed to provide you the necessary information regarding the
following content coverage and topics –
 Singing Tizita Kignits
 Singing Batti kignit/mode
 Singing Anchihoye kignit/modes
 Singing Ambassel kignit/mode
This guide will also assist you to attain the learning outcome stated in the cover page.
Specifically, upon completion of this Learning Guide, you will be able to –

 Sing Tizita Kignits

 Sing Batti kignit/mode
 Sing Anchihoye kignit/mode
 Sing Ambasel Kignit/mode
Learning Instructions:
1. Read the specific objectives of this Learning Guide.
2. Follow the instructions described below.
3. Read the information written in the “Information Sheets”. Try to understand what are
being discussed. Ask your trainer for assistance if you have hard time
understanding them.
4. Accomplish the “Self-checks” which are placed following all information sheets.
5. Ask from your trainer the key to correction (key answers) or you can request your
trainer to correct your work. (You are to get the key answer only after you finished
answering the Self-checks).
6. If you earned a satisfactory evaluation proceed to “Operation sheets
7. Perform “the Learning activity performance test” which is placed following
“Operation sheets” ,
8. If your performance is satisfactory proceed to the next learning guide,
9. If your performance is unsatisfactory, see your trainer for further instructions or go
back to “Operation sheets”.

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 Information Sheet 1- Singing Tizita Kignit

1.1. Introduction

According to many theoreticians scales are classified according to the number of tones
used, their range and their intervals. Some of the scales are Diatonic, Pentatonic,
Hexatone, Whole tone scale etc. The simplest scales in the world comprise two tones; the
interval is usually, major or minor second or less frequently a minor or major third. Such
type of simple form of scale structure is found in some parts of Ethiopian folksongs, e.g. the
Southern and Western music. Some Traditional songs also use three-tone scale, i.e. only
three tones, this type of scale could be found in most parts of the country; e.g. children
song. The most widely used scale in the world is the diatonic, but the pentatonic music’s
are more popular in African traditional music especially in Ethiopia. The name "Pentatonic
scale" is more familiar than the other. There are obviously as many varieties of the five-tone
scale as there are many possible combinations of intervals, and the pentatonic in its varied
forms is the scale most frequently encountered in folk, oriental and other types of music
(Jazz, pop, or even Classical) throughout the world.

1.2. Ethiopian Scales (Kignit)

The widely used and popular scale in Ethiopia is the pentatonic scale. As most literatures
tell us there are four popular modes or scales which are: Tizita, Bati Ambasel and
Anchihoye. And Bati and Tizita has two varieties Major and minor (Traditionally known as
Full and Half). As explained earlier in Ethiopia there exists different types of scale, among
these of scales the pentatonic scale is the dominant one all over the country with other
types of scales.

1.3. Ethiopian Kigñit Characteristics

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The widely used and popular Ethiopian pentatonic scales are four, but in the musical
practice there exists other types of pentatonic scales. All the four Ethiopian pentatonic
scales are based on five tones, and the European seven tones named diatonic. The tones
are represented as Do is C, Re is D, Mi is E, Fa is F, Sol is G, La is A, Si is B which are
again Do listed [Link] general music experts states that music of the world is under on 12
deferent which are out of the 12 well known tones.

[Link]/Tizita

It use by the Azmaris. The name is given because of the popular Amharic song sung in this
Kigñit. This pentatonic scale has two varieties Major and minor (Traditionally known as Full
Tizita and Half Tizita). The tizita scale based on the European diatonic representation it will
be gained by removing the forth and the seventh tones

Tizita Major

Tezeta Kignit singing practice

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Practice this exercise in 12 keys.

1.5. Tezeta Minor

You can easily listen both in different traditional and popular songs e.g. Mahamud Ahmed
tezeta song. Tezeta major or major pentatonic scale is common and widely used in
Ethiopian traditional and modern music

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 Self-check 1 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1 How many music alphabets does tezeta kegnet has?
A. 2 C. 3
B. 5 D.4
2 Tezeta kegnet off the __ and __ degrees of major diatonic scale notes
A. 2 & 5 C. 4 & 7
B. 3 & 6 D. None
3 Tezeta minor scale lowers __ & __ degrees of notes
A. 3 & 6 C. 4 & 8
B. 4 & 7 D. none
4 Pentatonic means?
A. 2 tones C. 4 tones
B. 3 tones . . D.5 tones
LNote: Satisfactory rating - >3 points Unsatisfactory - below <3 points
You can ask you teacher for the copy of the correct answers.

You can ask you teacher for the copy of the correct answers.
Answer Sheet
Score = ___________

Rating: ____________

Name ____________________________ Date ______________________

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Information Sheet 2- Singing Bati Kignit/mode

2.1. Introduction

Bati: It is named Bati because this Kigñit or scale is the widely used in Bati area in Wollo
region of Ethiopia. To represent the Bati scale based on the European diatonic
representation style it will be gained by removing the second and the sixth tones. C-D-E-F-
G-A-B-C become C--E-F-G-B-C

Symbolic representation of the Bati scale

Sing the following Melody starting in the 12 keys of the piano

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 Self-check 2 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. How many music alphabets does Batti kegnet has?
A. 2 C. 3
B. 5 D.4
2. Batti kegnet off the __ and __ degrees of major diatonic scale notes
A. 2 & 5 C. 2 & 6
B. 3 & 6 D. None
3. Batti minor scale lowers __ & __ degrees of notes
A. 3 & 7 C. 4 & 8
B. 4 & 7 D. none
4. Pentatonic means?
A. 2 tones C. 4 tones
B. 3 tones . . D.5 tones
You can ask you teacher for the copy of the correct answers.
Note: Satisfactory rating - >3 points Unsatisfactory – below <3 points

Answer Sheet
Score = ___________

Rating: ____________

Name _________________________ Date _______________

You can ask you teacher for the copy of the correct answers.

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 Information Sheet 3- Singing Ambasel kignit/modes

3.1 The origin of Ambasel

It is named Ambasel because the popularity of this Kignits in Ambasel or Wollo area.
Ambasel normally has single type, the Ambasel scale is from the Europeans major scale
will be gained by removing the third and seventh tones and by minimizing the second and
the fifth tones by half

C-D-E-F-G-A-B-C become C-D1/2 -F-G-A1/2 –C

Symbolic representation of the Ambasel scale

Sing the following Ethiopian Ambasel Scales

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 Self-check -3 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. How many music alphabets does Ambassel kegnet has?
A. 2 C. 3
B. 5 D.4
2. Ambassel kegnet off the __ and __ degrees of major diatonic scale notes
A. 2 & 5 C. 3 & 7
B. 3 & 6 D. None
3. Ambassel scale lowers __ & __ degrees of notes
A. 2 & 6 C. 4 & 8
B. 4 & 7 D. none
4. Pentatonic means?
A. 2 tones C. 4 tones
B. 3 tones . . D.5 tones
Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.

You can ask you teacher for the copy of the correct answers.
Answer Sheet Score = ___________

Rating: ____________

Name ____________________________ Date ________________

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Information Sheet 4- Singing Anchihoye kignit/mode

The name is given from the popular tune "Anchihoye". This scale is widely used in festivals
and wedding ceremonies. It is considered by most music experts purely Ethiopian scale
(Kignits) to find this scale like the Ambasel scale.

Symbolic representation of the Anchihoye scale

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 Self-check -4 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. How many music alphabets does Anchihoye kegnet has?
C. 2 C. 3
D. 5 D.4
2. Anchihoye kegnet off the __ and __ degrees of major diatonic scale notes
C. 2 & 5 C. 4 & 7
D. 3 & 6 D. None
3. Anchihoye scale lowers __ & __ degrees of notes
A.3&5 C. 4 & 8
B. 4 & 7 D. none
4. Pentatonic means?
A. 2 tones C. 4 tones
B. 3 tones . . D.5 tones

You can ask you teacher for the copy of the correct answers.
Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points
Score = ___________
Answer Sheet
Rating: ____________
You can ask you teacher for the copy of the correct answers.
Name ____________________________ Name ______________

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 Operation Sheet 1- Techniques of Identifying Ethiopian/pentatonic scale notation

1.1 Tools & Equipments

 Piano/Key-board
 Tape Recorder
1.2 Procedures of identifying techniques of Ethiopian Kignits
Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 Pick up the tezeta intervals sequence (know its meter, song’s time signature)
Step 5 Imitate and sing the scale notations
Step 6 sing what the tezeta scale exactly is

Operation Sheet 2- Techniques of Identifying Ethiopian/pentatonic scale notation

2.1 Tools & Equipments

 Piano/Key-board
 Tape Recorder
2.2 Procedures of identifying techniques of Ethiopian Kignits
Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 Pick up the Batti intervals sequence (know its meter, song’s time signature)
Step 5 Imitate and sing the scale notations
Step 6 sing what the Batti scale exactly is

Operation Sheet 3- Techniques of Identifying Ethiopian/pentatonic scale notation

3.1 Tools & Equipments

 Piano/Key-board
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  Tape Recorder
3.2 Procedures of identifying techniques of Ethiopian Kignits
Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 Pick up the Anchihoye intervals sequence (know its meter, song’s time signature)
Step 5 Imitate and sing the scale notations
Step 6 sing what the Anchihoye scale exactly is

Operation Sheet 4- Techniques of Identifying Ethiopian/pentatonic scale notation

4.1 Tools & Equipment

 Piano/Key-board
 Tape Recorder
 Microphone
 Full Sound system
4.2 Procedures of identifying techniques of Ethiopian Kignits
Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 Pick up the Ambassel intervals sequence (know its meter, song’s time signature)
Step 5 Imitate and sing the scale notations
Step 6 Sing what the Ambassel scale exactly is

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LAP TEST Performance Test

Name………………………………. ID……………………………..
Date…………………………………

Time started: ________________________ Time finished: ________________

Instructions: Given necessary templates, tools and materials you are required to perform
the following tasks within 1 hour. The project is expected from each student
to do it.

Task 1- Write out tezeta kegnet in C- Major Scale: Find the notes on your voice and
play sing them.
Task 2- Write out Batti kegnet in C- Major Scale: Find the notes on your voice and
play sing them.
Task 3- Write out Anchihoye kegnet in C- Major Scale: Find the notes on your voice
and play sing them.
Task 4- Write out Ambassel kegnet in C- Major Scale: Find the notes on your voice
and play sing them.
Answers for the above Lap test questions.

1-

2-

3-

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 4-

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LG #11 LO #2-Play a song using Ethiopian

Kignits

Instruction sheet
This learning guide is developed to provide you the necessary information regarding the
following content coverage and topics –
 Singing a song on Tizita
 Singing a song on Bati
 Singing a song on Anchihoye
 Singing a song on Ambasel
This guide will also assist you to attain the learning outcome stated in the cover page.
Specifically, upon completion of this Learning Guide, you will be able to –
 Sing a song on Tizita
 Sing a song on Bati
 Sing a song on Anchihoye
 Sing a song on Ambasel

Learning Instructions:
10. Read the specific objectives of this Learning Guide.
11. Follow the instructions described below.
12. Read the information written in the “Information Sheets”. Try to understand what
are being discussed. Ask your trainer for assistance if you have hard time
understanding them.
13. Accomplish the “Self-checks” which are placed following all information sheets.
14. Ask from your trainer the key to correction (key answers) or you can request your
trainer to correct your work. (You are to get the key answer only after you finished
answering the Self-checks).
15. If you earned a satisfactory evaluation proceed to “Operation sheets
16. Perform “the Learning activity performance test” which is placed following
“Operation sheets” ,
17. If your performance is satisfactory proceed to the next learning guide,
18. If your performance is unsatisfactory, see your trainer for further instructions or go
back to “Operation sheets”

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 Information Sheet 1- Singing a song on Tizita

1.1 Introduction

Singing Tizita song mean singing a song by using major pentatonic scale. The tizita scale
build based on the European diatonic representation it will be gained by removing the forth
and the seventh tones

Trainees first warm up your voice in Tizita Kignit. Practice the following notations using long
notes (1/2 notes) for 5 minutes.

Here is an example that you have to practice:

 Tezeta/Tizita
1. [Link]
Getachew Kasa's tizita

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 [Link]
ahmed/Mehamud Ahmed
 [Link] Asfaw.
 [Link] Legesse – zerafewa
 Asgegnew Asge -(asge dendasho)
 Able chedo - (Nudre Gamogofa)
 Ali Bira –(wan Mali )

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 Self-check - 1 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. _________is the major pentatonic scale ?
A. Batti C. Anchihoye
B. Tezeta D. Ambassele
2. The second degree of tezita kegnet in C- Major is --------------------.
A. B C. D
B. C D. None
3. The fifth degree of tezita kegnet in C- Major is --------------------.
A. A C. C
B. B D. D
4. The 3rd degree of tezita kegnet in C- Major is --------------------.

A. B C. D
B. C . . D. E

You can ask your teacher for the copy of the correct answers.
Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points
Answer Sheet
Score = ___________
You can ask you teacher for the copy of the correct answers.
Rating: ____________

Name ___________________________ Date ________________

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 Information Sheet 2 - Singing a song on Bati

2.1 The bati kegnet

Introduction

Singing batti music/kegnet means singing a song by using Ethiopian Bati scale/Kignit. Batti
scale represent based on the European diatonic representation style it will be gained by
removing the second and the sixth tones. C-D-E-F-G-A-B-C become C – E - F- G – B - C (
Batti)

After practicing the following Bati vocal techniques, sing the selected Bati songs.

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 Songs in Bati mode
 [Link] Asfaw- Ere batting
batti
 [Link] Gesese -Lanchi beye

ጫካ ሆነ ወይ ሸለቆ
ሀገሩንም አቋርጬ
ባገኝሽ ደስታዬ ነበር
ከምኖር በሀሳብ ተውጬ
እንዴት ላድርግ, የኔ ፍቅር
እዞራለሁ, ሀገር ለሀገር
እምምም...

መዞር እኔን መች ሰለቸኝ

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 ገና ብዙ ይቀረኛል
አንቺን እስካገኝ ድረስ
መቼ ድካም ይሰማኛል
እንዳጠፊ ካለሽበት
አልቅርብሽ ስንከራተት

እምምም... ሀ ሀ ሀ ሀ ሀ

ላንቺ ብዬ ሁሉን ትቼ
ስፈልግሽ እኖራለሁ
እንዳጠፊ አደራሽን
በቅርብ ቀን እደርሳለሁ
እንዳጠፊ ካለሽበት
አልቅርብሽ ስንከራተት
እምምም... ሀ ሀ ሀ ሀ ሀ ሀ
ማለፍ ሀ ሀ ሀ ሀ ሀ ሀ

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 Self-check 2 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. The 2nd and 6th degree _____ kegnet off from the major diatonic scale ?
A. Batti C. Anchihoye
B. Tezeta D. Ambassele
2. The second degree of batti kegnet in C- Major is --------------------.
C. B C.E
D. C D. D
3. The fifth degree of batti kegnet in C- Major is --------------------.
C. A C. C
D. B D. D
4. The 3rd degree of tezita kegnet in C- Major is --------------------.

A. B C. E
B. C . . D. F

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.

Answer Sheet
Score = ___________

Rating: ____________

Name __________________________ Date ______________

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 Information Sheet 3- Singing a song on Anchihoye

3.1 the Anchihoye kegnet

Introduction

Singing Anchihoye song mean singing a song by using Anchihoye pentatonic scale. The
Anchihoye scale build based on the European diatonic representation and it will be gained
by removing the 3rd and the seventh tones. Anchihoye scale/Kignit is Ethiopian pentatonic
scale, it build bay 1 - b2 – 4 - b5 – 6 – 1.

In the C-Major scale it looks like:

Practice the following Anchihoye vocal techniques properly, and sing the selected
Anchihoye song bellow.

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Songs in Anchihoye mode
 [Link] Negash -Yeni Hasab
 Symbolic representation of the Ambassel scale, and sing the song in Ambassel
kegnet start in all 12 keys

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 Self-check -3 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. _____ kegnet is the 2nd & 4th degree of it’s scale is lower ?
C. Batti C. Anchihoye.
D. Tezeta D. Ambassel
2. The second degree of Anchihoye kegnet in C- Major is --------------------.
E. bA C. bD
F. bC D. None
3. The fifth degree of Anchihoye kegnet in C- Major is --------------------.
E. A C. C
F. B D. D
4. The 3rd degree of Anchihoye kegnet in C- Major is --------------------.

A. B C. E
B. C . . D. F

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.

Answer Sheet
Score = ___________

Rating: ____________

Name ________________________________ Date _________________

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 Information Sheet 4- Singing a song on Ambassel

4.1 Ambasel Kegnet

Introduction

Singing Ambassel song mean singing a song by using Ambassel pentatonic scale. The
Ambassel scale build based on the European diatonic representation it will be gained by
removing the forth and the seventh tones. The Ambassel scale is formed from the
Europeans major scale by removing the third and seventh tones and by minimizing the
second and the fifth tones by half

• C-D-E-F-G-A-B-C become C-D1/2 -F-G-A1/2 –C

Symbolic representation of the Ambassel scale, and sing the song in Ambassel
kegnet start in all 12 keys

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 Practice the above Ambasel scale properly!

Trainees, by practice the above Ambasel vocal techniques properly, sing the Selected.
Ambasel songs bellow. And add your favorite Ambasel songs.

Songs in Ambasel mode

 [Link]

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 Self-check -4 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid
some explanations/answers.

Test I: Choose the best answer (5 point)

1. _____ kegnet is the 2nd & 5th degree of it’s scale is lower ?
E. Batti C. Anchihoye.
F. Tezeta D. Ambassel
2. The second degree of Ambassel kegnet in C- Major is --------------------.
G. bA C. bD
H. bC D. None
3. The fifth degree of Ambassel kegnet in C- Major is --------------------.
G. A C. C
H. B D. D
4. The 3rd degree of Anchihoye kegnet in C- Major is --------------------.

A. B C. bE
B. C . . D. bA

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.
Score = ___________
Answer Sheet
Rating: ____________

Name ____________________________ Date _______________

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 Operation Sheet 1- Techniques of singing Ethiopian/pentatonic scale songs

1.1 Tools & Equipments

 Piano/Key-board
 Tape Recorder
 Full sound system
1.2 Procedures of singing Ethiopian Kignit songs
Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 Identify the scale/kegnet
Step 4 Pick Up the Beat (know its meter, song’s time signature)
Step 5 Imitate and sing the song
Step 6 Identify what the song exactly is

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LAP TEST Performance Test

Name………………………………. ID……………………………..
Date…………………………………

Time started: ________________________ Time finished: ________________

Instructions: Given necessary templates, tools and materials you are required to perform
the following tasks within 1 hour. The project is expected from each student
to do it.

Task 1- Perform Ethiopian Tezeta Kignit in ascending & descending order.

Task 2 Perform Tezeta song
Task 3- Perform Ethiopian Batti Kignit in ascending & descending order.
Task 4- Perform Batti song
Task 5- Perform Ethiopian Anchihoye Kignit in ascending & descending order.
Task 6- Perform Anchihoye song
Task 7- Perform Ethiopian Ambassel Kignit in ascending & descending order.
Task 8- Perform Ambassel song

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LG #12 LO #3- Apply knowledge of safety singing
activity on stage

Instruction sheet
This learning guide is developed to provide you the necessary information regarding the
following content coverage and topics –
 Performing the fundamental techniques necessary steps of safety singing.
 Presenting Personal singing that matched to selected Ethiopian songs.
 Communicate with Ethiopian mode song.
 Apply sense of timing and rhythm in performances.
 Follow Advice about ways to improve own singing technique
This guide will also assist you to attain the learning outcome stated in the cover page.
Specifically, upon completion of this Learning Guide, you will be able to –

 Perform the fundamental techniques necessary steps of safety singing.

 Present Personal singing that matched to selected Ethiopian songs.
 Communicate with Ethiopian mode song.
 Apply sense of timing and rhythm in performances.
 Follow Advice about ways to improve own singing technique

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Learning Instructions:
I. Read the specific objectives of this Learning Guide.
J. Follow the instructions described below.
K. Read the information written in the “Information Sheets”. Try to understand what are
being discussed. Ask your trainer for assistance if you have hard time understanding
them.
L. Accomplish the “Self-checks” which are placed following all information sheets.
M. Ask from your trainer the key to correction (key answers) or you can request your
trainer to correct your work. (You are to get the key answer only after you finished
answering the Self-checks).
N. If you earned a satisfactory evaluation proceed to “Operation sheets
O. Perform “the Learning activity performance test” which is placed following “Operation
sheets” ,
P. If your performance is satisfactory proceed to the next learning guide,
Q. If your performance is unsatisfactory, see your trainer for further instructions or go
back to “Operation sheets”.

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 Information Sheet 1-Performing the fundamental techniques necessary
steps of safety singing.

1.1 Principles of safety singing

Introduction

No matter who you are or what you do, chances are you need to use your voice most of the
day. Everyone knows the importance of exercising the body but few people realize the
voice needs exercise too. It is best to relax the body with simple self-massage and light
stretching before doing vocal exercises. Perform these eleven quick and easy warm ups in
the privacy of your shower or wherever you feel comfortable to release physical and vocal
tension. Here are the seven day to day vocalist practices for ways to maintain vocal health
for singers.
I. Warm up—and cool down.
It is vital that you warm up your voice before singing, and there are a variety of exercises to
suit all ages, vocal ranges and levels of experience. Always ease into your exercises by
first warming up your facial muscles—loosen your lips and jaw muscles by blowing through
your lips, sticking out your tongue as far as it will go, massaging your face and sighing
musically.
Don’t be afraid to make some noise as your warm up. Let your voice wander up and down
its range. Then move onto humming, or perhaps do some gentle lip rolls or tongue trills.
Only once you feel like your face, mouth and voice are loosening should you start singing
actual notes. The whole process should take between 10 and 20 minutes (and don’t
skimp.).
Massage the base of your tongue, in the spongy area just behind your chin bone. Start by
resting your index fingers on top of your chin. Drop your jaw which will cause your mouth to
open. While resting your index fingers on your chin, simultaneously use your thumbs to
massage deeply into the base of your tongue.

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Release tension from your temporal mandibular joints. To find the joints, place your
fingertips just by and in front of your ears on both sides of your face and open your mouth.
The space that opens up as your jawbone moves is your temporal mandibular joint.
Massage these joints using your fingertips or the palms of your hands. Release your jaw
further and massage deeper with each exhale.

Stretch your tongue out of your mouth as far as you can in all directions

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Make as many funny faces as you can to exercise all of your facial muscles and stretch
your cheeks.

Massage your neck and shoulders. It is also a good idea to add basic neck and shoulder
rolls to loosen up.
Make some silly noises while shaking out your entire body or jumping up and down to let go
of any other tense areas that may be stuck.

Yawn a few times to open up the back of the throat.

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Hum holding any pitch for 10 or more seconds feeling a tingling sensation around your lips
and nose.

Buzz your lips making a Brr sound. Start on any pitch. Then go up and down your vocal
range.

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Vocalize on an open ‘Ahh’ sound going up and down your range.

Sing or hum any song that uplifts or inspires you.

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If you experience any tenderness or pain during massage, there is tension trapped in your
body. Just continue to breathe into the tension, releasing and letting it go. Vocalizing with
open sounds like ‘maah’ or ‘aahh’ on the exhale while massaging or stretching can help
you release even further. Note that this will take practice and should be done on a regular
basis. Most Trainees experience tension specifically in the tongue, jaw, face, neck, or
shoulders and are normally unaware of how much that consistent stress impacts their
verbal and non-verbal communication.

After your lesson, audition or performance is over, take time to cool down. While cooling
down is often omitted from lists of vocal-health tips, it’s a really simple way to support vocal
health for singers. Sigh on a descending note. Yawn, raising your soft palate and releasing
any built-up tension. Do some gentle lip rolls, again allowing your voice to gently descend.
Take 5 or 10 minutes to allow your voice to settle back into its normal speaking range.

II. Hydrate your voice.

If you’re wondering what to drink to sing better, the answer is simple: water. Water is one of
the best drinks for your singing voice, with herbal teas (but not too hot) in second place.
Drink water throughout the day, and keep a water bottle nearby during lessons and
rehearsals. And don’t think that a swig or two of water while you’re warming up is enough.
Your vocal folds work best when they’re well lubricated, and that means keeping your entire
body hydrated.
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There’s no way to directly moisten dry vocal cords. Nothing you drink or spray or dissolve in
your mouth passes directly over your vocal folds. Your larynx is separate from your
esophagus (and it’s a good thing too, or we’d always be choking). But dry vocal cords
quickly become irritated vocal cords, and that’s how you harm your voice. The more water
you drink, the better your voice will be.

III. Humidify your home.

A better question than what to drink to sing better is what to breathe to sing better.
Although nothing you drink can directly moisturize your vocal cords, you can give your
voice a boost by breathing properly humidified air. Overly dry air is very taxing on your
breathing and your voice.
Consider humidifying your home, especially when you’re working on a particular production
or if you’re doing a series of concerts. Using a humidifier can support your respiratory
health while also preventing dry vocal cords.

IV. Take vocal naps.

If you work out, you know how important rest days are. A tired voice, just like a tired body,
is more prone to injury. If you’re sick, if your allergies are flaring up or even if you’ve just
been working your voice a lot (like in rehearsal or when you’re preparing for an audition),
take time to rest your voice.
That means no talking, no singing and definitely no whispering, which is terrible for your
vocal cords. A tired voice needs time to regenerate, so the longer you rest it, the better.
Vocal rest gives your delicate vocal folds time to recuperate and heal.

V. Avoid harmful substances.

Smoking (or vaping) anything is absolutely the best and quickest way to permanently ruin
your voice. Don’t do it. When you inhale smoke, you’re essentially bathing your vocal cords
in toxins. Everything you breathe in every pollutant, every speck of pollen, and every
particle of dust passes right over your vocal cords, drying them out and irritating them.

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Alcohol might not have such an immediately damaging effect, but it is dehydrating and
inflammatory. And the high sugar content of most mixers is also bad for your voice.

VI. Don’t sing from your throat.

Despite all this talk about healthy vocal cords, your vocal folds are only one part of a
complex system that produces your singing voice. To sing well and to maintain your vocal
health, you need to understand your body and know where your voice is coming from. You
should never sing from your throat, the power behind your voice is your breath, and your
breath should be supported by your diaphragm. Sing from your core, allow your vocal cords
to relax, and let your voice resonate in your chest, pharynx and face.
Don’t worry if this doesn’t immediately make sense to you. It takes time to train your body
to support your voice, though you can speed up the process by working with a vocal coach
Trainor that knows the vocal anatomy and physiology very well.

VII. Don’t sing if it hurts.

We feel pain for one simple reason it’s our body’s way of telling us to STOP. If your throat
hurts, if you have an infection of any kind or if you’ve strained your voice through overuse,
don’t sing. Put yourself on vocal rest. Drink a lot of water. Get some extra sleep. Take care
of yourself and your tired voice. But most importantly, do not push through the pain. You
can seriously damage your voice by singing when your voice is strained or your throat is
hurting.

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 Self-check 1 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid some
explanations/answers.

Test I: Say true or false (5 point)

1. Vocal rest gives your delicate vocal folds time to recuperate and heal.
A. True B. False
2. Sing from your throat is important for good vocal health.
A. True B. False
3. Smoking (or vaping) anything is absolutely the best and quickest way to permanently
ruin your voice
A. True B. False
4. Water is one of the best drinks for your singing voice
A. True B. False
5. After your lesson, audition or performance is over, take time to cool down is not
mandatory.
A. True B. False

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.

Answer Sheet
Score = ___________

Rating: ____________

Name _______________________________ Date ______________

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 Information Sheet 2- Presenting Personal singing that matched to selected
Ethiopian songs.

2.1 Selected song handwriting practice

Introduction

Singing Ethiopian popular melodies/songs mostly means singing with the Pentatonic Scale
Songs. Here is some methods that helps you to sing some popular Ethiopian songs;

I- write the selected song

Write the lyrics of the selected song and matched with the modes of the song. Select the
original key or major of the selected song. Write the song’s melody on the score and
practice the pitch and rhythm. Use the audio to keep the pitch and rhythm perfect. When all
done, you sing pattern, they echo sing and play on key board or piano.

II- Kipping the selected song pitch

Use melodic patterns on Handwriting Practice with lyrics, such as use “do, re, mi” pattern
with each phrase. Practice will work in pairs and think of patterns that use mostly steps and
repeated notes. Trainees work together, write the solfege syllables the rhythm on the
composition page. Trainor helps them simplify their tunes so they are easier to learn and
sing. One trainee practice the singing while the other trainee coaches. Trainees have to
finish writing the notes of a sample song on the staff. Each trainee has his/her own selected
song composition sheet. When the sheet of the song is finished and printed, the solfege
can be practiced. Trainees can continue to practice their songs together.

III- Use long notes and arpeggios singing warmup in the key of the selected song

Trainees practice the scale singing of the selected song. It helps you to going with the song
together without singing wrong keys. Practicing the scale of the selected song in two
octaves is important to keep the range of the song. In addition the trainee able to sing the

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song smoothly. Practice the following notes in your song scale. If your song is not in C-
Major, translate it in your song key first and sing it.

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 Self-check 2 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid some
explanations/answers.

Test I: Say True or False (5 point)

1. To sing Ethiopian song, keeping the key of the selected song is mandatory.
A. True B. false
2. The preferable way of matching ones performance with the selected song is not writing
the song lyrics first
A. True B. False
3. The main parameter of one’s song matching with someone’s performance is keeping
the original song characters.
A. True B. False
4. Practicing the selected song major is helpful for matching ones performance.
A. True B. False

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.

Answer Sheet Score = ___________

Rating: ____________

Name _______________________________ Date _______________

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Information Sheet 3- Communicate with Ethiopian mode song.

3.1 Music scale mode

Introduction

A mode is a type of scale. Modes are used in certain types of music, like salsa, jazz,
country, rock, fusion, speed metal, and more. These are also called “church modes”
because they were first used in the Catholic Church back in medieval times. The names of
the modes were taken from the Greek modes, but other than the names, they have no
relation to the Greek modes. The two modes which have been used the most, and the only
two most people know, are now called the Major and natural minor scales. Their original
names were the Ionian mode (Major), and the Aeolian mode (minor). The other modes are:
Dorian, Phrygian, Lydian, Mixolydian, and Locrian Modes are easy to understand. We’ll
map out each mode’s series of whole and half steps and use the key of C so there aren’t
any sharps or flats to bother with.

3.2 Types of modes

I – Ionian mode

As you already know, the Ionian mode is the same as the C Major scale. All the white keys
on the piano from C to C. And I’m sure you remember the whole-half step pattern of W – W
– H – W – W – W – H Ionian is used in nearly all Western music, from Classical to Hip-hop.
The Ionian mode, also known as the Major scale.

II – Dorian mode

The Dorian mode begins on the second degree of the Major scale and in the key of C goes
from D to D on the white keys of the piano. The pattern of whole and half steps is W – H –
W – W – W – H - W. There are 12 Dorian scales, corresponding to the 12 key signatures.
The Dorian mode is a minor-sounding scale used in rock, jazz, blues, and fusion. Dorian
mode ascending:
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III – Phrygian mode

You’ve probably caught on to the pattern by now. Phrygian begins on the third degree of
the Major scale and in the key of C is E to E on the white keys of the piano. The whole-half
step pattern is H – W – W – W – H – W - W. This mode has a Spanish flavor and is used in
flamenco music, fusion, and speed metal. Twelve of these, too. In fact, 12 of all of them.
Phrygian mode ascending:

IV – Lydian mode

Lydian begins on the 4th degree of the Major scale and in the key of C is from F to F on the
white keys of the piano. Whole-half step pattern is W – W – W – H – W – W - H. You might
see this mode in jazz, fusion, rock, or country music. Lydian mode ascending

V – Mixolydian mode

Mixolydian begins on the fifth degree of the Major scale, and in the key of C is G to G on
the white keys. Whole-half step pattern is W – W – H – W – W – H - W. This mode shows
up in rockabilly, country, blues, and rock. Mixolydian mode ascending:

VI – Aeolian mode

Also known as the natural minor scale, the Aeolian mode begins on the sixth degree of the
Major scale. In the key of C it’s from A to A on the white keys. W – H – W – W – H – W - W.
This mode appears in all kinds of music: pop, country, Rock, blues, heavy metal, classical,
and on and on. Aeolian mode ascending:

VII – Locrian mode

This is the strangest sounding mode, and the least used, though you’ll probably find it in
some fusion and in jazz. The Locrian mode begins on the seventh degree of the Major
scale, and is B to B in the key of C. Locrian mode ascending:

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VII. Ethiopian Modes
Ethiopian music modes are stands on the four Ethiopian kegnet characters. Tezeta , Batti,
Anchihoye, and Ambassel have its modes.

For example: Tezeta 1st , C-D-E-G-A –C, Tezeta 2nd – D-E-G-A-C-D, Tezeta 3rd – E-G-A-C-
D-E, Tezeta 5th –G-A-C-D-E-G, and Tezeta 6th or Batti minor- A-C-D-E-G-A are an example
of Ethiopian major pentatonic scale modes. They all have its own emotion, felling, and
interval flow. The same as for other kegnet, like Batti, Anchihoye and Ambassel. Trainees
write each Ethiopian keynotes with their modes and understand the emotional filling of each
mode and use it in your future music journey.

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 Self-check -3 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid some
explanations/answers.

Test I: write the best answer (5 point)

1. What are the names of the modes? (Ionian, Dorian, Phrygian, Lydian, Mixolydian,
Aeolian, & Locrian )
2. What mode is the same as the major scale? (Ionian )
3. What mode is the same as the natural minor scale? (Aeolian)
4. What is the starting note for the Dorian mode which uses the key of D Major? (E)
5. What key signature would be used for the Dorian mode beginning on an A? (Key of
G. One sharp)

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.
Score = ___________
Answer Sheet
Rating: ____________

Name _____________________________ Date ________________

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 Information Sheet 4-Apply sense of timing and rhythm in performances.

4.1 Introduction

Rhythm is the time element of music. A specific rhythm is a specific pattern in time; we
usually hear these in relation to a steady pulse, and mentally organize this pulse or tempo
into meter (sometimes called a "time signature"). Meter organizes beats into groups,
usually of two or three; beats can be divided into small units usually 2, 3 or 4 subdivisions

1.2 Down with the count

In This module we will Tap Your Foot, Counting Quarter Notes, Counting Half Notes,
Counting Whole Notes, and Counting Rests. Now that you know the note lengths and time
signatures, we can move on to the counting system. The counting system is very helpful,
especially for difficult rhythms. When you count, do it rhythmically, and tap your foot with a
steady beat at the same time. The rhythms we’ll be using at first won’t be tough, so you can
get a good idea of how the system works. Gradually we’ll introduce more and more difficult
rhythms on which to practice this counting system. The good news is that you only have to
know how to count to 4, the length of a measure of 4/4 time. And because we don’t really
need a specific pitch for this exercise, we’ll use the one-line rhythm clef for the examples.

1.2.1 Quarter Note Count

The count is basically the same as the beat, so in 4/4 time, or any time signature with a 4
as the bottom number, the beat is the same as the quarter note. Here’s what a measure of
quarter notes looks like with the proper counting:

Example-1 Two measures of quarter notes with counting

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Simple and straightforward. At the beginning of the measure, the count begins again at
“1”.Don’t forget to tap your foot. As you say the numbers out loud, say them rhythmically,
so you can feel the beat. If you’re doing it correctly, each number is said as the foot hits the
floor.

4.2.2 Half Note Count

Half notes, because they’re two beats, are treated a little differently. It’s easier to show than
to explain. Remember the sound of a half note in 4/4 time is sustained for two beats each.
Here you go:

Example -2 two measures of half notes with counting.

You probably guessed the count would look something like that, right? The dash shows
that the sound is continuous. When you say this rhythm, say it rhythmically, and say the 1
and 3 louder than the 2 and 4. Each half note will have two foot taps. For these two
measures, you would say (rhythmically), “ONE-two, THREE-four, ONE-two, THREE-four.”

1.2.2 Half Note Count

Example 3 measures of whole notes with counting.

For these two measures, you’d say, “ONE-two-three-four, ONE-two-three-four.”Mix ‘Em

UpAny combination of notes will be counted similarly. I won’t include whole notes in the
example because, in 4/4 time whole notes get the entire measure to themselves.

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Example 4 Counting for mixed quarter and half notes.

1.3 Other Meters

Other meters, like 2/4 and 3/4 would be treated the same, the only difference being there
would be less counts in each measure. An added bonus is that in those meters, whole
notes aren’t used.

1.3.1 Count the Rest

Counting rests is very similar to counting notes. Because rests are silent, parentheses ( )
are used to indicate the silence. Here are three measures with whole, half, and quarter
rests. And just for kicks, we’ll use the 5-line treble clef staff. An added help when you count
rests out loud is to count them softly, with a whisper.

Example -5 Whole, half, and quarter rests with counting

All Together Now here’s an example with notes and rests of several different values.
Knock yourself out. Count out loud and rhythmically, and don’t forget to tap your foot.

Example 14.6 Notes, rests, and their counts in 4/4 time.

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 Being able to read rhythms is one of the most valuable skills you can have as a
musician, and this counting system (combined with a foot tap) will help you figure out
how a rhythm sounds.

Table 1. Notes & Rests

4.4 Beat/Time Signature

2/4 time - two beats in a measure and 4 the quarter note receives one beat

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 Music Symbols

3/4 time, 3 - three beats in a measure and 4 the quarter note receives one beat

4/4 time, 4 - four beats in a measure and 4 the quarter note receives one beat

Rhythm duration- how long a sound lasts

Tempo- speed at which the music is played

Accelerando - becoming faster

 Adagio – slow
 Allegretto - moderately fast

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  Allegro – fast
 Andante - moderately slow
 Grave - very slow, solemn
 Largo - really slow
 Moderato – moderate
 Prestissimo - as fast as possible
 Presto - very fast
 Ritardando - gradual slowing
 Vivace - lively

Count the 4/4, and 3/4 rhythm below,

Count the 3/4 time below:

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 Self-check – 4 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid some
explanations/answers.

Test I: Choose the best answer (5 point)

1. The count of any measure, in any time signature/meter, begins with what number?
A- 1
B- 2
C- 3
D- 4
2. How is a measure of quarter notes in 3/4 time counted?
A- 1 2 3
B- 1 2 3 4
C- 1 2 3 4 5
D- None
3. How is a measure of half notes in 4/4 time counted?
A- 1-1 , 2-2
B- 1-2 , 3-4
C- 2-1 , 4 – 3
D- None

Note: Satisfactory rating - >2 points Unsatisfactory - below <2 points

. You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy ofSheet
Answer the correct answers.
Score = ___________

Rating: ____________

Name _____________________________ Date _______________________

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Information Sheet 5- Follow Advice about ways to improve own singing technique

5.1 Advice To Improving Your Singing

Introduction

Here is what we have learned so far about helping singers improve:

Music Rehearsal

 Learn to breathe properly

Learning to breathe deeply and with control is the foundation of singing. The diaphragm is
the muscle that controls pushing the air from your lungs.

 Warm-up your voice before singing

As a singer you have to take time to warm up your voice and mornings are not always the
best time. One of the favorite tricks while driving to rehearsal, is to sing along with the
songs on with MP3 player in a soft voice, sometimes down an octave

 Sing every day

Like most things in life, you improve by doing it daily. Do not be shy about singing in
everywhere like singing around your house. When you were on the road and we were
singing and performing 6-7 times per week, it was amazing how strong our voices got. Use
it or lose it. Try to sing a minimum of 30 minutes per day.

 Copy your favorite singers

There are many different kinds of singers and styles of music. Most singers start off by
copying a number of their favorite artists and then develop their own style from there. That
is normal. So get out your favorite recordings and copy their tone, inflections and vibrato (or
lack of vibrato

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  Take singing lessons

Sometimes you can only go so far on your own. A good teacher will help you with
breathing, tone, intonation, posture and a host of other important details. You still have to
practice every day, but they will help correct the things that you may be doing wrong.

 Learn how to project your voice when you sing

You can’t sing loudly if you do not breathe properly. Good tone comes from learning how to
project your voice. Go for it! Don’t be shy, sing loud!

 Learn to sing with passion

Great singers know how to sing with emotion. If you love a song and sing it from your heart,
it should show in the emotions that you present. It should show in your stage presence.

 Learn to listen for pitch problems

Few things are worse than someone singing out of tune. Learn to sing along with your
favorite recordings or with your piano and really try to match the pitches. Practically
everyone can learn to sing in tune with constant practice and listening.

 Drink lots of water

Keeping your voice healthy and lubricated is important! Room temperature water is the best
way to keep your voice well lubricated. Avoid caffeine, dairy products and alcohol before
you sing. Those liquids generally hurt more than they help.

 Record yourself singing

Generally speaking, no one likes the recorded sound of their voice. But, listening to
recordings of yourself is the best way to really hear what you sound like. It is the best way
to pick up on how well your pitch, vibrato and breath control is. Don’t be discouraged
because you sound different in recordings than what your voice sounds in your head. That
is a common problem for everyone. Keep listening, keep growing, keep improving

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 Self-check – 5 Written test

Name…………………………………………… ID………………………… Date…….

Directions: Answer all the questions listed below. Examples may be necessary to aid some
explanations/answers.

Test I: say True or False (5 point)

1. Learning to breathe deeply and with control is the foundation of singing
A. True B. False
2. As a singer you have to take time to warm up your voice
A. True B. False
3. Do not be shy about singing in everywhere is not good for personal practicing.
A. True B. False
4. Most singers start off by copying a number of their favorite artists and then
develop their own style from there
A. True B. False
5. Great singers don’t know how to sing with emotion
A. True B. False
6. water is not the best way to keep your voice well lubricated
A. True B. False

Note: Satisfactory rating - >3 points Unsatisfactory - below <3 points

. You can ask you teacher for the copy of the correct answers.
You can ask you teacher for the copy of the correct answers.

Answer Sheet Score = ___________

Rating: ____________

Name _______________________________ Date _________________

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Operation Sheet 1- Techniques of singing that matched to selected Ethiopian
songs.

1.1. Tools & Equipment

Piano/Key-board
Tape Recorder
Ethiopian song
Full sound system
Brail written score and A-4 paper

1.2 Procedures of singing Ethiopian Kignit songs

Step 1 Create conducive environment
Step 2 Keep proper posture
Step 3 Listen to the sample music very carefully
Step 4 write the sample music on the staff
Step 5 practice to sing the scale/kegnet of the selected song in two octaves
Step 6 Pick up the Beat (know its meter, song’s time signature)
Step 7 Imitate and sing the song and matched with the selected song

Operation Sheet 2- Techniques of communicate with Ethiopian mode song.

2.1 Tools & Equipment

Piano/Key-board
Tape Recorder
Ethiopian song
Full sound system
Brail written score and A-4 paper
1.2. Procedures of Techniques of communicate with Ethiopian mode song.
Step 1 Select the sample song
Step 2 Identify the modes of the selected song
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Step 3 practice the modes scale interval of the song
Step 4 sing the song

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 LAP TEST Performance Test

Name………………………………. ID……………………………..
Date…………………………………….

Time started: ________________________ Time finished: ________________

Instructions: Given necessary templates, tools and materials you are required to perform
the following tasks within 1 hour. The project is expected from each student
to do it.

Task 1- Sing one Tezeta first song

Task 2-Sing one Tezeta song that is not first mode
Task 3 Sing Batti song
Task 4 Sing Anchihoye song
Task 5 Sing Ambassel song

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Reference Materials

Book:

1 “Music IN THEORY AND PRACTICE V OLUME I , Eighth Edition, Bruce Benward &
Marilyn Saker.
2 “Music Theory, Basic Level, June 2005.
3 “Reading Choir music, for beginners, Mersey Wave 3 March 2017
4 “Essentia Music Thieory for Singers; Michael Michael , ICMA, 2003

WEB ADDRESSES
1. “[Link] [Link]”

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 AKNOWLEDGEMENT

We wish to extend thanks and appreciation to the many representatives of TVET

instructors and respective industry experts who donated their time and expertise to the
development of this Teaching, Training and Learning Materials (TTLM). We would like also
to express our appreciation to the TVET instructors and respective industry experts of
Regional TVET barruues, TVET college/ Institutes, Federal Technical and Vocational
Education and Training Agency (FTVET) who made the development of this Teaching,
Training and Learning Materials (TTLM) with required standards and quality possible. This
Teaching, Training and Learning Materials (TTLM) was developed on April, 2021 at
Adama, Ethiopia.

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 The trainers who developed the learning guide

No Name Phone Educational Region E-mail

Number background
1 Ashenafi Nigusse 0911658447 Music Vocal A .Ababa Ashenew16@[Link]
2 Solomon G/yohanes Music A .Ababa
3 Tewabe Tadese Music SNNPR
Leykun Music Adama

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.6

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