Hubei Xiaoqu consists of "Hantan Xiaoqu" and "Tianmian Xiaoqu". Hantan Xiaoqu is also known as "Hankoutan Xiaoqu" and "Waijiang Xiaoqu". It is mainly popular in large and medium-sized cities in Hubei such as Hankou, Shashi, and Yichang. It is mainly sung while sitting. Tianmian Xiaoqu is also called "Neihe Xiaoqu". It is mainly popular in counties and towns and rural areas along the Han River in Hubei such as Tianmen, Qianjiang, Mianyang, Hanyang, and Hanchuan. It is famous for singing folk tunes by knocking on plates. It is said that there were originally 200 to 300 tunes of Hubei Xiaoqu. They were gradually lost in the late 1930s. There are about 100 existing tunes, including local Xiaoqu and Xiaoqu from the upper and lower reaches of the Yangtze River, as well as Xiaoqu brought back from various places by Xiaoqu artists who were stranded in various places during the Anti-Japanese War. Hubei Xiaoqu is a Hubei song, commonly known as Hantan Silk String and Waijiang Xiaoqu. It evolved from the folk songs of the Ming and Qing Dynasties that were circulated in the central region of Hubei. During the Guangxu period, Tianmian Xiaoqu artists began to join forces with Hantan Xiaoqu artists, entered teahouses and sang, and gradually merged into one. It gradually became popular in Hankou, Wuchang, Huangshi, Shashi, Jiangling, Yichang, Jiujiang and other places along the Yangtze River. In the 1920s, it was renamed Hubei Xiaoqu. During the Anti-Japanese War, Wuhan fell and Xiaoqu artists fled one after another, so they spread Hubei Xiaoqu to foreign lands and became an influential and major genre in Hubei Province. It is circulated in the docks of cities such as Wuhan, Shashi, and Yichang. It is a Hubei genre in China. It was formed by the confluence of Hantan Xiaoqu and Tianmian Xiaoqu that were circulated in central Hubei around the end of the Qing Dynasty. The singing style is rich, consisting of more than 100 folk songs from four genres: Nanqu, Wenci, Xiqiang, and Tanhuang, which are gentle and beautiful. The singing is mainly seated, but it can also be sung standing or walking. Sitting singing can be performed by one person, two people or multiple people, with two people sitting singing as the main form, with men and women working together; the male actor also plays the Sihu, and the female actor holds the cloud board to beat the rhythm. The traditional repertoire includes "Snatching the Umbrella", "Autumn River", "Jumping on the Pink Wall" and other southern tunes; "Torturing Hong", "Thinking of Lover" and other western tunes; "Song Jiang Kills Xi", "An An Sends Rice" and other literary songs. After 1949, "Lei Feng Joins the Army" and "Jiang Jie Enters the Mountains" were compiled and performed, which brought new development to the art of Hubei Xiaoqu. Hubei Xiaoqu is one of the types of Chinese rap music. It occupies an important position in the rich and colorful rap music types such as drum lyrics, tan lyrics, fishing drums, brand songs, qin books, miscellaneous songs, walking songs, board chanting, and Shidiao Xiaoqu. It is a rap music of Shidiao Xiaoqu with strong local characteristics and distinct rap music characteristics. Since the artists of Hantan Xiaoqu sing in Hankou dialect and the artists of Tianmian Xiaoqu pronounce in Tianmian dialect, two schools of Hubei Xiaoqu are formed, namely, Waijiang and Neihe. Hubei Xiaoqu has rich singing tunes and melodious tunes, which are composed of four tune systems, namely "Nanqu", "Xiqu", "Wenci" and "Tanhuang", and more than 100 folk songs (qu). The Nanqu tune system is developed from Nanqu, forming "Nanqu Tou", "Nanqu Shuban" and "Nanqu Wei" with the same palace and mother tunes, which are relatively independent of Nanqu. They can narrate or express emotions, and have a simple and beautiful style. A singing segment is composed of several tunes of different palaces (G palace, C palace, F palace, D palace). The connection of tunes is free and flexible, and the pitch can be changed by changing the tuning method of the accompaniment instrument Sihu (sol, re, re, la, la, mi, do, sol) to enhance the changes of music and enhance the expressiveness. In order to highlight the style of the music and maintain the unity of the musical structure, it often starts with "Nanqutou" and ends with "Nanquwei", and in the middle are connected with "Nanqu", "Qijuban", "Pingban", "Nanqushuban" and other tunes. In the traditional repertoire, the two tunes of Wenci and Xiqiang constitute the singing segments independently without being connected with other tunes. Xiqiang is rooted in Tianmian folk music. The lyrics are in the format of upper and lower sentences. Through different changes in singing and rhythm, it has evolved into "Xiqiangtou", "Xiqiangduoju", "Xiqiangwei" and other variant tunes of the same palace. The singing is circuitous and gentle, and is good at expressing emotions such as longing, regret, and self-sigh. The lyrics are composed of "Wenci Diao" and "Wenci Shuban". Tanhuang is a single song form. Other folk songs and minor tunes adopt different palace tunes and minor sections, which can be connected with 4 tunes. It can be combined freely and individually. The singing is mainly seated singing, but it can also be standing or walking. Sitting singing is divided into three forms: single, double, and multi-person (also called "beating drums"). Sitting singing is the main form. Most of the singing is done by men and women, with men singing Sheng and women singing Dan. The male actor also plays the Sihu, and the female actor holds the cloud board to beat the rhythm. The lyrics are all in the form of representation, without any performance elements. The accompaniment instruments are mainly Sihu and Yunban, and pipa, sanxian, yangqin, erhu, etc. can also be added. The techniques of embellishment and embellishment of the singing tune Hubei Xiaoqu pays special attention to adding flowers to the skeleton of the singing tune, and uses techniques such as appoggiatura, tremolo, and glissando to enhance the delicate and euphemistic style characteristics of the Xiaoqu, portraying the rich inner emotions and images of different characters, and almost every note is embellished and every tune is embellished. 1. Legato, indicating that the notes of different pitches within the arc must be sung and played continuously. 2. The breath is broken, Its emotional basis is a singing method generated by surprise, anger, hatred, suggestion, etc. It often uses the pause of breath and the continuation of the duration to create a tense atmosphere that is more silent than sound to express emotions. There are also continuous staccato and combined with rhythm changes to create a momentum to express certain emotions. 3. Inhalation, a special means to express sad passages. The inhalation is the vibration of the vocal cords when inhaling. We can observe that grief-stricken people often make sobbing sounds when they cry. 4. Haha sound, a bouncing singing method of Hubei folk songs that borrows from the Sichuan Qingyin Haha tune. It requires flexible breath control. When singing, the root of the tongue is close to the soft palate to block the "granular" breath that pops out from the diaphragm, and it is coordinated with the proper opening and closing of the glottis to produce staccato. The staccato ends with the words "ha", "piao" or "hai" 5. Bounce sound, which is often used to express the characteristics of a clear and lively singing voice. 5. Bounce sound, which is mainly the sound of a broken cavity produced by the bounce of the diaphragm. When making a sound, the two major muscle groups of exhalation and inhalation produce a strong and short confrontation, causing the air column to impact the glottis, so that the sound emitted quickly shoots to the upper resonance position, and the sound group with a granular effect bounces out. 6. Stall sound, this singing method is the performance of the bouncing sound singing method in the low voice area. Bounce sound mostly uses upper resonance, while staccato sound mostly uses chest resonance or overall resonance. The resistance of breathing is smaller than that of bouncing sound, but the duration of the confrontation is longer. Stall sound is steady and powerful, starting from the lower resonance and contracting upward, giving people tenacity. 7. Weeping sound, it is a special technique with a strong sense of drama when singing while crying. One must be good at controlling breath, staccato chest, and causing sobbing to accompany singing. 8. Tremolo, which is often used to modify style and deepen emotions. There are many types of trills, such as long trills, short trills, fast trills, slow trills, straight first and then trills, etc. The brain nerves consciously control all the muscles related to pronunciation. While making vocal movements, they also vibrate regularly. There is a wave-like shaking in the sound, and the pitch changes slightly. 9. The right tone and its upper neighbor tone (including major and minor second and minor third) alternate rapidly. The right tone can be short or long. The alternation of two tones once is called a single right tone, and more than two times is called a double right tone. There are also slow first and then fast, etc. 10. The reverse tone, the right tone and its lower neighbor tone, including major and minor second or minor third, alternate rapidly. The reverse tone is also divided into single and double reverse tone. 11. Tongue trill, use a uniform and continuous airflow to impact the tip of the tongue, making it hum. Hubei Xiaoqu has a rich variety of singing tunes, and the commonly used singing tunes include "Nanqu Tou", "Nanqu Zhengban", "Nanqu Wei", "Tanhuang Diao", "Wenci Diao", "Xiqiang", "Siping", "Yinniusi", "Dieduanqiao", "Tanwugeng", etc. Hubei Xiaoqu is mainly sung, with storytelling and singing alternating. In the early days, folk stories were mostly sung in the form of linked songs. It can be sung in teahouses and wine shops, or "sold on the street" or "sung in the hall" at festive banquets of villagers. The traditional repertoires of Hubei Xiaoqu include "Robbery of Umbrellas", "Autumn River", "Jumping on the Pink Wall" and other southern tunes; "Torturing Hong", "Yingying Farewell", "Thinking of Lover" and other western tunes; "Song Jiang Killing Xi", "An'an Sending Rice" and other literary tunes. Western tunes are mostly sung by Tianmian Xiaoqu artists, and are of the same origin as the Western tunes in Tianmian Huagu Opera. The repertoires of Hantan Xiaoqu include "Autumn River", "Robbery of Umbrellas", "Hongniang Delivering Cards", etc. The repertoire of Tianmian Xiaoqu includes "Torturing the Matchmaker", "Mending the Backpack", "Sparrow Song", "Copper Coin Song", "Flower-lighting Terrace", etc. New repertoires include "Watching the Iron Ox", "Lei Feng Joins the Army", "Jiang Jie Goes into the Mountains" (the above are Hantan Xiaoqu), "Chasing the Rice-sprouting Sparrows" (Tianmian Xiaoqu), etc. Around the 1930s, some artists used Hantan tunes to accompany puppet shows, and a group of long repertoires called "big frame" plays appeared, such as "The Legend of the White Snake", "Qin Xuemei", "Autumn River", "Robbing the Umbrella", "Double Going Down the Mountain", etc. During the Anti-Japanese War, artists in Jingzhou and Shashi also sang new repertoires such as "Awakening the People" and "Leaving Home to Serve the Country" in the square to promote the anti-Japanese and national salvation. After the founding of the People's Republic of China, in order to enhance the expressiveness of ditty music and meet the needs of expressing new content, in some sorted traditional repertoires and new works, in addition to paying attention to maintaining the characteristics of various cavity systems, the cavity systems and other qupai and minor tunes often absorb and borrow from each other, and create some new repertoires such as "Lei Feng Joins the Army" and "Jiang Jie Enters the Mountains", which has given new development to ditty art. There were originally more than 300 traditional repertoires of Hubei ditty, and more than 180 have been handed down. The long (big head) "Xue Rengui's Expedition to the East" and "Xue Dingshan's Expedition to the West" can be sung continuously for months. Short repertoires can generally be performed in one night (day), such as "Koushong", "Qiuhonghe", "Robbery of Umbrellas", "Su Wenbiao Borrowing Clothes", "Xigong Ci", etc. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)