Since ancient times, the etiquette of people's weddings, funerals and marriages is like a vivid picture of folk customs. The ancient and standardized customs and customs, although they have gone through the changes of times and customs, are still unique in the splendid folk culture. of brilliance.

As the saying goes, ten miles are different in wind, and a hundred miles are different in customs. Over the years, in the vast land of Sichuan and Shu, due to the influence of the natural environment, even across states and counties, there are inheritance and regional differences in the etiquette and customs of folk arrangements for weddings and weddings. Although the procedures and situations demonstrated in different places are not similar, and even have their own systems, only the word "hi" has become a popular story among the common people.

Once, there was such a rhetoric among the people in northern Sichuan: marriage is a major event in life, it should be celebrated, or it should be a white affair, and it should be done with the right to be popular, and the lively atmosphere can not be less. Because of this, whenever folk marriage and sacrificial ceremonies are carried out, folk trumpeters must be invited to participate. Especially in rural areas, even poor people should follow this custom. Not to mention, the few suona artists and drummers in the urban and rural areas of northern Sichuan were very popular at that time. When they met the auspicious days commonly known by the folks, they invited the host and the West to make an appointment, and sometimes they were too busy. Looking back at the 1950s and 1960s, it can be said that in the penetration and fusion of folk art, this kind of folk custom has evolved into a cultural phenomenon in which people advocate individuality and pursue romance. Take a rural family in the suburbs of Nanchong as an example. Whenever a happy event is held during the New Year’s festival, every family and every family want to make a lively event. They don’t hesitate to spend human and financial resources, talk about ostentation, compete for face, and even compare with each other. As a result, during the Great Rejoicing Period, there are not many joyous programs. From the lively sound of drums and firecrackers, all the way to dowry delivery, sedan chairs, grabbing fortunes, and a series of ceremonial etiquette, such as wedding ceremony, marriage ceremony, etc., all of them are a group of drummers running back and forth, on the spot to add to the fun, less It will take ten days. Besides, the custom of organizing funerals, if you pay homage to the elders, the arrangement of the scene is no less than a red event. Whether it is a mourning or a funeral, it is always inseparable from the gongs and drums. What's more, please come to the troupe, play with friends, sing filial songs, and accompany the entertainers all night long with relatives and friends.

In fact, trumpeters and folk trumpets are just word-of-mouth titles. An accurate interpretation should be the collective name of suona artists and drummers. As the saying goes, although the sparrow is small, it is full of liver and gallbladder. The small folk blowing class also has a foreman (conference leader), whose responsibilities are to communicate with the outside world, coordinate internally and arrange the repertoire. There are as few as six members and as many as ten members. They are composed of social amateur instrumental music enthusiasts, as well as folk artists. For a long time, the folk blowing class has been quite unique in the combination of personnel, the matching of musical instruments, and the use of music cards. Including their "schedule" and "equipment" are also full of strong regional characteristics. For example, folk artists in the villages of northern Sichuan are used to carrying musical instruments on their backs or shackles, like the "five craftsmen" in the countryside. It is said that this dress is not only economical, convenient, but also has an advertising effect.

Suona, commonly known as "trumpet" and "salazi" by Sichuan people, is a national folk musical instrument with a long history. Due to its large and powerful volume, high-pitched and bright tone, it is deeply loved by the masses. Especially when it is used with gongs and drums at the same time, it can best create a warm and happy atmosphere. According to legend, there was a folk saying in northern Sichuan, "Ten places play gongs, nine places have suonas". Especially in festive festivals, playing dragon and lion dances, as well as people celebrating their birthdays and worshipping Buddha on the mountain, folk drummers will come in handy. It is not difficult to find that the folk blowing classes also have some unwritten attention in inheriting the tradition, and their manifestations can be divided into two types: "sitting blowing" and "walking blowing". The so-called "sitting blowing" refers to playing in a relatively fixed venue, such as weddings, birthday celebrations, mourning and other ceremonies. "Walking and blowing" is a form of marching performance performed in ceremonies such as welcoming relatives, picking up guests, facing mountains, and funerals.

Different customs and different forms also have certain rules for the placement of drummers. For example, when it comes to "sit and blow", whenever there is a red event, the Chuban is usually placed in a courtyard or other conspicuous places; if it is a white matter, the Chuban is placed along the edge or in an inconspicuous corner. Another example is the ritual custom of receiving relatives in "Walking and Blowing". The drummer must walk in front of the team to express his willingness to "welcome"; while in Baishi, the drummer can only follow the end of the team, expressing the idea of "sorrow". If you follow the traditions of folk musicians in northern Sichuan, there is also a rule of "three blows and three no blows". On formal occasions, formal ceremonies, welcoming guests and seeing off guests, it must be played; if it is in front of the shrine in the wedding rituals, in the bridal chamber of the wedding, and on the way back to the funeral, it is taboo to play and play.

When it comes to the folk suona, older artists often have the saying that "the huqin comes with three burdens, and the suona plays in the morning". The listener seems to be simple, but the practice will know the depth. It can be said that the folk suona, like other national musical instruments, does not see kung fu overnight. Moreover, there are hundreds of folk suona tunes, and even the widely circulated and commonly used tunes are enough for players to practice for three years and five years. According to the test, the folk suona artists of that year were generally ancestral, and generally did not know the musical notation. Anyone who preaches the arts, writes down tunes, and recites tunes can only use the ancient "gongji notation". However, the later elementary apprentices got smart and kept pace with the times, and soon got rid of this notation mode.

Needless to say, it comes from the fact that most of the folk blow classes are loose teams, or even short-lived partnership organizations, so the level of blow and blow is uneven. For example, in the etiquette and custom of "following the sedan chair" and "over the banquet", there are often two suona artists playing at the same time "Suona Greetings", "Get Up and Tune", "Mother Sends Daughter" and "Brother Sends Sister", "The Dresser" and "Wannianhong". ” and other tunes, as soon as you listen to the tone and skills, you will know that you are an ancestral veteran. In their jargon, the artists who can control so many songs are all good at the stunt handed down by their masters—breathing kung fu. It is said that some experts have extraordinary skills and can blow up a slope in one breath. Besides, in the funeral ceremonies, the folk suona can be said to be the only one who is good at winning the game. Whenever the drum and gong sound, the three tunes "Geng Niang Song", "Misfortune" and "Crying Song" are indispensable. In contrast, most of the guys who beat drums, cymbals, and gongs are half a can of water who have been practicing for three or five days. Skills speak for themselves.

Perhaps the unique artistic color of the folk suona in northern Sichuan stems from the relatively old traditional tunes that have been inherited. After years of baptism, young suona apprentices conform to the new trend. The suona tune mode adopts the new and old playing techniques, and gradually added tunes such as "Crying Emperor's Sky" and "Causing Mountains and Rivers". Even so, dozens of songs such as "Ants Climbing a Tree", "Goose and Goose Flashing Wings" and "Lazy Niu Uphill", which are the most commonly used and popular folk suona in northern Sichuan, are still preserved.

Times are changing. Nowadays, people who organize weddings and weddings have their own advantages: limousine tours of the city, travel weddings, group weddings, tree planting condolences, flowers and so on. However, the peasant families in remote mountain villages are still attached to the traditional customs, and even regard the etiquette of "carrying the sedan chair and sending the bride" as an entertainment activity used in the past and present. See the style of folk culture.