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Huayin (the pinyin for 滑音) refers to a glide from the initial pitch to the final pitch. The finger can glide upwards (上滑音), downwards (下滑音), or downwards and back (回滑音), each adding richness to the performance. There are also different methods of producing glides, such as Fingering Glide (指滑音), Embouchure Glide (唇滑音), and Breath Glide (气滑音), each producing distinct musical effects (Wang et al., 2019).

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As the traditional Suona were designed to play only limited keys, the suona has undergone adaptation and modernization. Keyed Suonas—such as soprano, alto, tenor, and bass models—have been upgraded with additional keys (乐器学习网, 2017a), inspired by the Boehm system used for the clarinet (Wang et al., 2019). These enhancements allow musicians to play semitones and achieve a full chromatic scale.

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In Chinese orchestras, jianpu (简谱), a numerical notation system, is commonly used instead of Western staff notation. Within this system, the traditional suona’s range typically spans from 5̣ to 3̇, with notes higher than a major third above the key pitch being unplayable using tonguing techniques. Hence, these higher notes are achieved by slurring upward from a lower note (Wang et al., 2019).

Regarding the size of the Suona, large F and G models produce a thicker, warmer sound, while the more commonly used C and D models have a bright, robust tone. Small F and G Suonas, however, tend to sound sharper and more shrill. Therefore, it can be concluded that the lower notes are warmer, while the higher notes are brighter and more piercing.

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Suona(唢呐). Qing Dynasty. The Metropolitan Museum of Art.

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The Suona is a traditional Chinese double-reed wind instrument renowned for its distinctive timbre and rich expressiveness, making it an integral part of traditional Chinese music (Cai, 2024). Its name and design are believed to have originated from the zurna, a double-reed pipe from the Middle East (Wang et al., 2019). Historically, the Suona has been closely associated with significant folk events such as funerals, weddings, births, and religious ceremonies, owing to its ability to evoke both joyous and sorrowful emotions (Times, 2022). Over time, the name of the Suona has varied across regions in China; for example, in Hebei and Shandong provinces, it is known as HaiDi (海笛) (网易, 2019).

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Image of Zurna

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MPO on Instagram: “Liu Wenwen gives a brief information about the double reed instrument, the suona, and demonstrates how to play it. Get your tickets now to watch the outstanding suona player with the MPO in a concert themed Celestial Serenade. They will pay homage to the harmonious tunes of Chinese classical music. #MPO #Suona #Chineseclassicalmusic #celestialserenade”

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304 likes, 5 comments - malaysianphilharmonicorchestra on May 19, 2024: “Liu Wenwen gives a brief information about the double reed instrument, the suona, and demonstrates how to play it. Get your tickets now to watch the outstanding suona player with the MPO in a concert themed Celestial Serenade. They will pay homage to the harmonious tunes of Chinese classical music. #MPO #Suona #Chineseclassicalmusic #celestialserenade”.

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Ranges of different types of Keyed Suona

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The keyed Suona, 加键唢呐, was first experimented with by the Jinan Military Region’s Vanguard Song and Dance Troupe (济南军区前卫歌舞团) in the 1960s. The aim was to enable performances with a wider range of chromatic notes and modulations, as well as to facilitate the creation of low-pitched instruments (Wang et al., 2019).

In Chinese orchestras, the lineup typically includes alto, tenor, and bass keyed Suonas, while the traditional Suona remains in use instead of the soprano keyed Suona (高音加键唢呐), as most parts can still be played on the traditional instrument.

Despite the modernization allowing the instrument to play a greater variety of notes, the alto and lower keyed Suonas are often avoided in high-register scoring. This is because their overblown registers tend to produce a hoarse and unstable sound.

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The suona is traditionally constructed from materials such as rosewood or sandalwood (Times, 2022) and features a combination of wood and brass components (Ling, 2021). Its design consists of four main parts: the reed (mouthpiece), metal staple, wooden pipe (body), and a detachable metal bell. The wooden pipe includes eight holes—seven in the front and one in the back—while the metal bell amplifies the sound and ensures precise pitch. Musicians may also use a qipai(气牌), or lip disc, to provide support for their lip muscles while playing.

Since Chinese wind instruments, including the suona, are traditionally built around the diatonic scale, their playable range is limited to a small number of keys. To accommodate the diverse requirements of the Chinese orchestral repertoire, suona players typically carry multiple instruments tuned to different keys, such as big F, big G, B♭, C, D, E, and small F (Wang et al., 2019). The size of the suona varies depending on the key of the instrument.

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big F, big G, B♭, C, D, E, and small F suona (From left to right)

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The suona reed varies according to the key and size of the instrument. Additionally, players are often required to adjust the reed to match their individual playing style by modifying its thickness and size to their preference. However, there has been an innovation in plastic reeds, which are more beginner-friendly as they are easier to play than traditional reeds, though they tend to sacrifice some sound quality in the process.

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最详细的唢呐演奏必学哨片修理教程分享#唢呐#哨片#唢呐修理

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Handmade suona 手工制作中国传统乐器——唢呐！你听过它的声音吗？

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Dayin (打音) is a technique in which a lower note is played briefly before transitioning to the main note, achieved through rapid finger movements. It requires precise coordination with tonguing to ensure smooth and effective execution (华音网, 2023). In the well-known piece "Hundred Birds Paying Homage to the Phoenix," Dayin is combined with Huayin and Tonguing to imitate the sounds of birds, adding a dynamic and expressive quality to the performance (Ling, 2021).

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Tonguing is a technique commonly used in wind instruments, where the tongue makes contact with the reed or mouthpiece to separate the notes (Tonguing, 2023). There are three main types of tonguing: Single Tonguing (单吐), Double Tonguing (双吐), and Triple Tonguing (三吐). In Single Tonguing, the player articulates each note by gently striking the reed while pronouncing the syllable "tu," represented by the letter T. In Double Tonguing, the syllables "tu-ku" (TK) are used, while Triple Tonguing involves patterns such as "tu-ku-tu" or "tu-tu-ku" (TKT or TTK).

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唢呐《三吐音教学》课程 #唢呐 #教学

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Huashe is a technique where a note is played while creating a rolling "rr" sound with the tongue (Wang et al., 2019). This method is similar to the tremolo technique used in Western music.

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Hundreds of Birds Paying Homage to the Phoenix 百鸟朝凤

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Hundreds of Birds Paying Homage to the Phoenix 百鸟朝凤

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"Hundred Birds Paying Homage to the Phoenix" (百鸟朝凤) is not only one of the most iconic pieces in the Suona repertoire but also ranks among the top ten most famous Chinese folk instrumental works (Joy, 2023). The composition, originally arranged by the renowned Suona player Ren Tongxiang (任同祥), draws inspiration from melodies in the North China Plains, particularly the Shandong, Anhui, Henan, and Hebei regions (Chong, 2016).

A key feature of the piece is its vivid depiction of various birdcalls, conveying the dynamic and joyful atmosphere of nature. This effect is achieved through a combination of Suona techniques, including alternate fingerings, adjustments in embouchure, and tonguing methods, which contribute to the lively and melodious rhythm of the composition (Ling, 2021).

Though originally composed for Suona, Hundred Birds Paying Homage to the Phoenix was transcribed for piano by Wang Jian Zhong (王建中) in 1973. The piano arrangement has since become one of the six most notable twentieth-century Chinese piano masterpieces (Chong, 2016).

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新竹青年國樂團 HCYCO

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《百鳥朝鳳》嗩吶與樂隊 “Hundreds of Birds Adoring a Phoenix” Suona and Ensemble｜嗩吶/劉英｜指揮/王甫建

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Hundred Birds Paying Homage to the Phoenix (Piano Version)

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Hundred Birds Paying Homage to the Phoenix (Piano Version)

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During the mid-period of the Republic of China, Carrying Sedan Chairs (抬花轿) emerged as a widely performed folk dance, where performers either sit in a sedan chair wearing a black gauze cap or, in some versions, a man dressed in traditional attire portrays a beautiful woman (Chinese Classical Music, 2013). The Suona arrangement of Carrying Sedan Chairs was specifically composed to match the movements of carrying the sedan, making it an essential piece in the Suona repertoire for folk music performances. However, due to its long history, the original composer of this piece remains unidentified (乐器学习网, 2018).

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First doctorate student specialising in the Suona

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Liu Wen Wen is a pioneering musician, recognized as the first person to earn a PhD in suona (Hongyu & Jun, 2023).

Born in the 1990s in Shandong Province, she hails from a family with a rich suona heritage – her father, Liu Hao Bin, belongs to a lineage of performers spanning seven generations, while her mother, Liu Hong Mei, represents the 12thgeneration musicians in her family, which has a history of playing suona that dates back to the early Qing Dynasty (1644 – 1911) (Nan, 2021).

At the age of 15, Liu began her formal training with Liu Ying in Shanghai and later became a suona teacher at the Shanghai Conservatory of Music (Liu, 2023).

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The Kylin has long been recognized as an auspicious totem in Chinese culture (华音网, n.d.). Rooted in the legend from Shandong, the piece draws upon the region's melodic patterns, serving as the stylistic foundation. Given Liu Wen Wen's roots in Shandong, this piece was uniquely created for her in collaboration with composer Kong Zhixuan. Over time, the piece has also been embraced by other suona players and performed with ensembles such as the Singapore Chinese Orchestra.

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麒麟頌   Ode to  Kylin   嗩吶協奏曲   嗩呐 / 劉雯雯    Liu Wenwen

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In 2017, Liu Wen Wen made her international debut, performing Hundred Birds Paying Homage to the Phoenix alongside the award-winning composer Tan Dun and a Western symphony orchestra in Australia (Nan, 2021). She incorporated her family's Kaxi tradition of mimicking rooster crowing, in connection with the Chinese zodiac sign of the rooster for 2017, which received a warm and enthusiastic reception from the audience (Haiyun, 2024). Her performance even garnered attention on Chinese social media. Since then, Liu Wen Wen has continued to perform globally, collaborating with Western orchestras and promoting the unique sound of the suona, including a recent performance with the Malaysian Philharmonic Orchestra (MPO).

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Guo Yazhi, renowned as one of the world’s leading suona players, is celebrated for his innovative “living core” reed design and his exceptional expressive performances (Bard College Conservatory of Music, n.d.). He graduated with distinction from the Traditional Music Department at the Central Academy of Music in 1990 and served as a lecturer there for nine years before becoming the suona principal of the Hong Kong Chinese Orchestra (HKCO) (HKPhil, n.d.).

In 2013, Guo was honored with the Hong Kong Award for Best Artist (2012). That same year, he made a bold career shift, leaving his prestigious position at HKCO to study jazz at Berklee College of Music. While abroad, Guo showcased the suona’s distinctive sound internationally, leading the Berklee College of Music Band on tours in China and Singapore (BIO | Yazhi Guo, n.d.). In 2021, he co-founded the American Academy of World Music and established the “Two Tune” World Music Ensemble in Henderson House.

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In 1992, Guo Yazhi's invention of the “living core” (活芯) revolutionized the capabilities of the traditional suona. Traditionally, instruments like the suona were not designed to accommodate chromatic scales, posing significant challenges for performing pieces that required a broader range of notes. Additionally, performers often struggled to switch between instruments within limited timeframes. The “living core” addressed these limitations by introducing a mechanism that adjusts the length of the suona, allowing its pitch to be raised by one semitone (Ling, 2021).

This innovative breakthrough earned Guo the “Second Prize for Progress in Science and Technology” from the Ministry of Culture. The invention sparked interest among composers and expanded the possibilities of the suona, enabling it to play even atonal harmonies (Ling, 2021). It also inspired the creation of new works specifically designed for Guo and the enhanced suona, such as Calling the Phoenix (唤凤) composed by Qin Wenchen (花昼, 2022). By increasing the instrument's flexibility and opening doors for creative expression, the living core has ushered in a new era for the suona, bridging traditional and modern musical landscapes.

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The film Song of the Phoenix shares its name with the renowned suona piece Hundred Birds Paying Homage to the Phoenix in Mandarin. Released in 2013, the story focuses on the inheritance of the suona tradition and its struggles for relevance in the modern world. A powerful theme depicted in the film is the lack of appreciation for suona art in contemporary society. The contrast between the public’s preference for Western ensembles and the traditional suona performances led by Jiao’s class symbolizes the increasing Westernization of culture today. This aligns with Huang’s (2019) observation that younger generations are becoming more influenced by Western traditions, such as celebrating Christmas and Christmas Eve, while drifting away from their own cultural heritage. The film serves as a poignant reminder of the importance of safeguarding traditional roots and cultural practices in a rapidly modernizing world.

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Although the suona is celebrated for its expressive sound, it has often been labeled as "noisy" and unfairly associated with "funeral business," as shared by Liu Wen Wen in her experiences (Haiyun, 2024), where her public performances were hindered by such prejudice. With the suona faces the risk of becoming endangered, Liu Wen Wen is dedicated to bringing the instrument to international prominence. She innovatively blends the suona with various musical genres, including symphony, jazz, and bossa nova, striving to secure its place in contemporary music and attracts younger generations (Nan, 2021).

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《百鳥朝鳳》爵士版｜嗩吶獨奏：劉雯雯

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Circular Breathing Technique, also known as 循环换气, is used when playing sustained long notes on instruments like the Suona (Suona Playing Technique, 2022). Similar to the technique employed by Western wind instrument players, it requires the musician to breathe through the nose before the air in the cheeks is exhausted (Manske, 2019). This technique can be trained using a tube or straw and a bowl of water, with the tube submerged in the water. The player then blows air into the tube, practicing the technique through this method.

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唢呐演奏走向高手的必学技巧“循环换气”#唢呐#唢呐独奏#唢呐电音#唢呐教学#唢呐教程#循环换气

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The earliest evidence of the Suona’s existence can be found in mural depictions from cave 38 of the Kizil Grottoes in Xinjiang, date back to the fourth century (Liu Yong, 2014). According to Wang et al. (2019), the Suona had become a widely used instrument by the Ming Dynasty and was even employed by General Qī Jìguāng (戚继光) in the military. In his book 《纪效新书 · 武备志》 (Records of Armaments and Military Provisions), he wrote, "凡掌号笛，即是吹唢呐 " meaning "Whoever plays the horn flute is playing the Suona."

By the late Ming Dynasty, the Suona played a prominent role in opera music, serving as an accompaniment to vocals (唢呐, n.d.). It was also used to perform special musical styles such as Suona Erhuang, Nanluo, and Yunsu, as well as creating stage effects like horse neighs and children's cries (天井, 2022).

Today, the suona is a common feature in folk events and serves as a fundamental instrument in the Chinese orchestra. With advancements in its development, various lower-pitched chromatic Suona models were created in the 1950s, inspired by the clarinet (Wang et al., 2019).

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Suona Ensemble in Southwest Shandong Province

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Suona Ensemble in Southwest Shandong Province

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According to research from Chao and Nicolas (2024), Suona ensembles represents a genre that comprises both Chinese percussion and wind instruments. This folk art tradition is deeply embedded in the region, with nearly every township having its own Suona ensemble. In traditional context, Suona ensembles were primarily associated with the upper class, performing at ceremonial events such as royal parades, banquets, hunting expeditions, military operations, triumphal celebrations, and soldiers' burials. By the Qing period (1644–1912), Suona music had evolved to become a fundamental part of traditional rituals and ceremonial events. Passed down through generations, its popularity grew further in the 1990s, when economic growth and increased financial stability allowed families to incorporate Suona performances into their festival celebrations.

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A modern/contemporary suona concerto that utilizes the "living core" to enhance the instrument's complexity and flexibility

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嗩吶協奏曲 郭雅志 《喚鳳》

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This is not suona also... Just random squidward again 🤣

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As a suona learner, I can relate to Liu Wen Wen’s experience of the instrument being misunderstood, often viewed as "noisy" or associated with "funerals"—a sentiment even shared by some of my relatives, which leaves me with no choice but to smile in response. Personally, I find that the suona's powerful sound makes it difficult to practice at home without disturbing the neighbors. However, despite some negative views, the instrument is also seen by some as being "cool."

As for the question of whether the suona is a dying art form similar to the film “Song of the Phoenix”, I don't think it is, at least not in Malaysia. While there are indeed limited suona specialists here—those who are not only proficient in playing but also dedicated to teaching and preserving the instrument—there are still students and even adults actively practicing the suona within local Chinese orchestras. In Malaysia, I think Chinese music is not endangered, but it is facing challenges in its development. Unlike professional Chinese orchestras such as the Singapore Chinese Orchestra (SCO) or the Hong Kong Chinese Orchestra (HKCO), Malaysian Chinese orchestras are often made up of students or amateurs who have other careers. As a result, practices are usually limited to once a week due to time and location constraints, which somehow makes it difficult for orchestras to progress and requires self-discipline to practice independently. Moreover, many people come and go from the orchestra due to their career commitments. As for the suona, there are limited opportunities locally to expand one’s skills, and often, it requires traveling abroad to learn from professional suona players.

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This is not suona btw... Just random squidward 🤣

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One of the changes of Suona in traditional and modern context is the instrument construction. Hence, when comparing traditional and modernized suona in terms of instrument construction, the key concern often revolves around the "authenticity" of Chinese music. The addition of keys or "Westernization" of the instrument, which brings it closer to instruments found in Western symphony orchestras, raises the question: does this compromise the uniqueness of the Chinese orchestra and make it sound more like a Western ensemble?

For example, keyed suonas are often considered less expressive (Wang et al., 2019) because the modifications prioritize a more uniform tone, making the instrument blend better within an orchestra. This results in fewer opportunities for the varied, nuanced expressive techniques that are characteristic of the traditional suona (乐器学习网, 2017b). While keyed suonas are valuable for addressing the need for lower-pitched suonas, I believe that the traditional soprano suona should not be replaced by its keyed counterpart. Although there are challenges, such as pitch instability, I view these as areas that require practice and mastery, like training to adapt to the "living core." These nuances are what make live performances compelling and contribute to the unique sound of the Chinese orchestra.

In terms of modernizing the suona's performance, especially beyond classical music, Liu Wen Wen and Guo Yazhi’s efforts to incorporate suona into jazz are pivotal. These experiments help promote the instrument and introduce it to new audiences, giving it a unique voice within different musical genres. Additionally, suona has recently been introduced into EDM, with influential suona artist Ah Sheng (also known as 唢呐哥) bringing the instrument into the genre. I believe such experimentation is crucial for expanding the suona’s reach and breaking down its stereotypical image, which is often based on limited exposure and misconceptions.

That said, even as we explore new genres and techniques, the traditional should not be forgotten. It is important to preserve its classical repertoire and playing techniques. For instance, Liu Wen Wen, despite experimenting with jazz and bossa nova, still performs traditional suona pieces that shine on international stages. Similarly, while we aim to improve the flexibility and reach of the suona, I believe it is crucial to ensure that its original sound remains intact.

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In conclusion, I remain optimistic about the future of the suona, both locally and internationally. While the film Song of the Phoenix poignantly reflects the challenges faced by the suona in today’s world, I believe we are still at the early stages of its evolution. This instrument, with its rich legacy passed down through generations, deserves appreciation beyond the confines of outdated stereotypes.

I, too, once held preconceived notions about the suona, but my perspective shifted as I encountered skilled musicians who revealed its profound beauty. I am confident that, as more people are exposed to the artistry of talented suona players, these misconceptions will fade. I remain hopeful and excited to see the suona take its rightful place on local and international stages, evolving and integrating into diverse musical landscapes while retaining its unique essence. The suona holds immense potential, and I eagerly anticipate its continued growth and resurgence in the global music scene.

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Taiwan EDM 《Pilgrimage》Official Music Video