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.

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).

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 12^thgeneration 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).

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).

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.

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).

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.

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.

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.

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.

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.

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.