suona

The ''suona,'' also called ''dida,'' laba or ''haidi'', is a traditional double-reeded Chinese musical instrument. The ''suona's'' basic design originated in ancient Iran, then called " Sorna". It appeared in China around the 3rd century and it's also popular in parts of northern and southern China, including Shandong, Henan, Hebei, Shanxi, Shaanxi, Gansu, Northeast China, Guangdong, Fujian, and other regions. It has a distinctively loud and high-pitched sound, and was used frequently in Chinese traditional music ensembles, particularly in those that perform outdoors. It was an important instrument in the folk music of northern China, particularly in provinces of Shandong and Henan, where it has long been used for festival and military purposes. It is still being used, in combination with sheng mouth organs, gongs, drums, and sometimes other instruments in weddings and funeral processions. Such wind and percussion ensembles are called ''chuida'' () or ''guchui'' (; this name refers to the ''suona'' itself in Taiwanese Hokkien). Stephen Jones has written extensively on its use in ritual music of Shanxi. It was also common in the ritual music of Southeast China. In Chinese culture it was an essential element of ritual music that accompanied Daoist performances of both auspicious and inauspicious rites, i.e., those for both the living and the dead. One of the most famous pieces that uses suona as the leading instrument is called ''"Bai Niao Chao Feng''" (), or "Hundred Birds Worship the Phoenix". The movie Song of the Phoenix casts the rise and fall of the popularity of suona in modern Chinese musical history. Suona music is filled with tradition and innovation, and is a timeless expression of Chinese folk culture, enriching the daily lives of folk workers. Suona art was approved by the State Council to be included in the first batch of national intangible cultural heritage list on May 20, 2006.

Construction

The ''suona'' as used in China had a conical wooden body, similar to that of the '' gyaling'' horn used by the Tibetan ethnic group, both of which used a metal, usually a tubular brass or copper bocal to which a small double reed was affixed, and possessed a detachable metal bell at its end. The double-reed gave the instrument a sound similar to that of the modern oboe. The traditional version had seven finger holes. The instrument was made in several sizes. The ''suona'' has a bright tone, a loud volume, and a wooden tube in a round and cone-shaped shape. The upper end is equipped with a copper tube with a whistle, and the lower end is covered with a copper bell mouth. The ''nizi'' (), a related instrument that was most commonly used in northern China, consisted of a ''suona'' reed (with bocal) that was played melodically. The pitches were changed by the mouth and hands.video
/sup> Sometimes the ''nizi'' was played into a large metal horn for additional volume. Take apart the tube, whistle, and horn to play, and each can simulate different characters, such as Laosheng, Huadan, and other voices.

Modern Construction

Since the mid-20th century, "modernized" versions of the ''suona'' have been developed in China; incorporating mechanical keys similar to those of the European oboe, to allow for the playing of chromatic notes and equal tempered tuning (both of which were difficult to execute on the traditional suona). There is now a family of such instruments, including the ''zhongyin suona'' (), ''cizhongyin suona'' (), and ''diyin suona'' (). These instruments are used in the woodwind sections of modern large Chinese traditional instrument orchestras in China, Taiwan, and Singapore, though most folk ensembles prefer to use the traditional version of the instrument. It is used in modern music arrangements as well, including in the works of Chinese rock musician Cui Jian, featuring a modernized suona-play in his song " Nothing To My Name" (一无所有) played by the saxophonist Liu Yuan. In 1993, the famous wind musician Mr. Guo Yazhi invented the "live core" device for suona, which allowed traditional suona to play a chromatic scale and twelve tone system, enriching the expressive power of suona.

Ranges of the orchestral "''suona''":
*Piccolo ''suona'' in G, F and Eb ( zh, labels=no, s=海笛, p=hǎidí)
*Sopranino ''suona'' in D, C and Bb ( zh, labels=no, s=高音, p=gāoyīn)
*Soprano ''suona'' in A and G ( zh, labels=no, s=大唢呐, p=dàsuǒnà)
*Alto ''suona'' in F ( zh, labels=no, s=中音, p=zhōngyīn)
*Tenor ''suona'' in C ( zh, labels=no, s=次中音, p=cìzhōngyīn)
*Bass ''suona'' in various keys (F, Eb etc) ( zh, labels=no, s=低音, p=dīyīn)
*Contrabass ''suona''
*Octocontrabass ''suona''

The alto, tenor and bass varieties are normally keyed and the soprano varieties are sometimes keyed. The highest varieties are not normally keyed, but there are variants of them – usually in the key of C – that are keyed to assist in the playing of accidentals. The note played when the left hand's fingers and right index finger are covering the playing holes is considered the key of the instrument.

Use inside China

In modern, most of the performances of the ''Suona'' are performed at funerals, or in national orchestras because the s''uona'' has a unique tone, a strong penetrating power, and a strong infectious power. For example, in the classic Suona piece "Bai Niao Chao Feng" (百鸟朝凤), which is performed in orchestra.

Influence of ''suona'' on young people in the 21st century

Because of its unique sound, the ''suona'' has become one of the most popular instruments among young people today, because they can use traditional instruments to perform the modern repertoire. Nowadays, ''suona'' even appears in band performances, festival performances, music programs, movies, and in any other way, and is widely loved by young people.

History

Origins

Although the origin of the ''suona'' in China is unclear, with some texts dating the use of the ''suona'' as far back as the Jin dynasty (266–420), there is a consensus that the ''suona'' originated outside of the domains of ancient Chinese kingdoms, possibly having been developed from Central Asian instruments such as the '' sorna'' or '' zurna'', from which its Chinese name may have been derived. Other sources state the origins of the ''suona'' were Arabia, or India. A musician playing an instrument very similar to a ''suona'' was shown on a drawing on a Silk Road religious monument in the western Xinjiang province. It dates to the 3rd or 5th centuries, and depictions dating to this period found in Shandong and other regions of northern China depicted it being played in military processions, sometimes on horseback. It was not mentioned in Chinese literature until the Ming Dynasty (1368–1644), but by this time, the ''suona'' was already established in northern China. During the Ming and Qing dynasties, it was widely circulated among the people and was mostly used in wind and percussion bands for weddings, funerals, and happy events. It was also used as an accompaniment instrument for folk songs, dances, and operas.

Other instruments related to the ''suona'' may have also descended from the Asian zurna, such as the European shawm. Other examples include the Korean ''taepyeongso'', the Vietnamese ''kèn'' and the Japanese '' charumera'' (). The latter's name is derived from ''charamela'', the Portuguese word for shawm. Its sound was well known throughout Japan, as it is often used today by street vendors selling ramen.

Use outside China

The ''suona'' was used as a traditional instrument by Cubans in Oriente and Havana

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