The Hundred Birds Chaofeng, a suona solo piece, has different versions in different parts of the north.In the spring of 1953, it was warmly welcomed when it was performed as a suona solo by a team from Heze Prefecture, Shandong Province, in the First National Music and Dance Concert. Later, Ren Tongxiang, a famous suona player, with the assistance of professional musicians, compressed the sound of birds, deleted the sound of chickens, and designed a colorful phrase, using the long tone technique of the special cyclic air exchange method, and expanded the end of the Allegretto, so that the whole piece ended in a warm and joyful atmosphere. With the warm and cheerful melody and the sound of birds singing in harmony, the piece expresses the vibrant scene of nature. The suona is a solo piece of suona music, which is a combination of folk opera singing, plate style and song of the Anyang area in the north of Henan Province. The melodic direction, tonal color and blowing characteristics of this piece give people a kind of ancient, free and strong meaning, which makes you lingering and unforgettable. The piece is composed of loose, medium, fast and flying plates, which can be said to be a typical traditional plate structure, in line with the traditional aesthetic tendency of Chinese people. From the loose plate to the positive plate, from the slow plate to the fast plate, and from the narrative to the agitated plate, the piece gives people a sense of contemplation, liberation, and fulfillment. The specialties of regional styles and the accommodation of playing skills have given many performers a platform and opportunity to show their talents. Such as scattered board of spitting, trembling, on the board of the slide; in the board of the deep, fine, soft, strong and spitting, slippery, strong, weak changes, and fast echo, swallowing, spitting, broken play, so that the player has to show the space of talent. Especially the flyboard part of the "section sparse", and the climax of the overlaying heart-stopping. Carrying the sedan chair, music is our country's folk opera music, according to carry the sedan chair action, walking, movement state and music, widely popular in our country's folk, is one of our country's folk traditional classical music, the performance form to suona playing mainly. Due to the long history, the author of the music has been unable to be verified. Six Characters Open the Door, a suona solo piece, was originally a folk instrumental piece. The tune is smooth and the mood is light. It is often used in opera to accompany scenes such as the playwrights changing clothes, cleaning, and walking bye-bye, and is a variation of Little Open Door. In the first half of the piece, the "air arch" and "air top" techniques are used to simulate the sound of human laughter, making the melody as beautiful as a song; in the second half of the piece, the single and double spit techniques are used to play the "three-stringed tone", which is similar to the sound of the three-stringed string, and the "three-stringed tone" technique is short and fast. In the second half of the piece, single and double spitting techniques are used to produce a "three-stringed tone" similar to the sound of the three strings, and the short and elastic musical notes are combined with a light rhythm. The mood of the piece is lively and cheerful, making the music contrasting and the performance more vivid, and obtaining a better artistic effect. Social Celebration, suona solo piece, by Ge Lidao, 1965 in the "rural services for the musical works of the call for submissions" activity was selected by the Music Publishing House published and included in the "founding of the country thirty years of instrumental works", recorded and brought to Japan, South Korea, the United States, Nepal, and other countries by the art groups to perform. Favorite suona piece. Yizhihua, a suona solo piece, was written in the spring of 1959 by Ren Shao based on the local opera and other folk tunes of Shandong. The piece starts out with a loose passage, using the "crying" tone of Shandong clappers, which is mournful and tragic, followed by a narrative slow movement, which is soft and moving. Finally, the slow and fast transition to the middle plate, taking "Little Peach Red" as the material, the rhythm is lively, the music is light and fast. After that, the unfolding passage characterized by "spikes", the repetition of short and small notes, and the intermittent appearance of the long notes of "releasing the wheel", rendering a blazing and joyful atmosphere. Fengyang song strung eight boards, a famous southwestern Lu drum and wind music, is also a popular suona song, but after Mr. Hao Yijun finishing transplanted into the flute song of the same name is little known. The author of this paper, through the understanding of Shandong qinshu music and years of years engaged in the flute and suona two instruments of performance and teaching practice, the flute song "Feng Yang song strung eight boards" of the structure of the layout, source of material, style performance, and so on carried out an in-depth analysis, and highlights the performance of the song should pay attention to the nine problems. The melody of the introduction is open and melodious, with big ups and downs, showing the warm and simple, bold and spirited character traits of Shandong people. The slow part of the piece is mainly based on the "Fengyang Song", the melody is fresh and clear, the flavor is vivid and chic, and it is interesting through the use of variations and various playing techniques. Suona Solo, by Zhang Xiaofeng. Based on the tones of northeastern folk songs, the piece describes the scene of selling and purchasing goods in a mountain village and combines it with lyricism, making the music light and witty. The piece is divided into: [Rushing], [Yelling], [Echoes of the Valley], [Mountain Village Alive], [Shopping], [Farewell], [Moving On], with each title hinting at the content of the section. It describes the joyful and lively scene of selling and buying goods in the mountain villages, and is a piece of work reflecting the theme of real life. Mr. Wang Guo-Tong used the "Crying Tune" and "Seven Characters Tune" of Taiwan's local opera "Gezai Opera" as the material for his composition. The author wrote in the artistic requirements of the piece: "Taiwan Opera and Fujian Opera belong to the same genre, both originated from Fujian's folk songs and dances, 'Jin Ge' and 'Pavement Sweeping', and have a close relationship with each other, so this piece was initially named 'Huai Hsiang Opera', meaning 'Fujian Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', 'Xiang Opera', and 'Fujian Opera'. Therefore, this song was originally named 'Huai Xiang Qu', meaning that the word 'Xiang' and 'hometown' have the same sound, in order to express the feelings of Taiwanese compatriots who miss their hometowns and relatives in the present day by reminiscing about the sound of the Xiang Qu in the past. Now the original name of the song is restored while changing the word 'Hsiang' to 'Xiang' in order to make its meaning more precise." The original piece of "Huai Xiang Qu" is divided into three sections. The first section: expresses the deep nostalgia of Taiwan compatriots for their motherland and their loved ones. This slow and long melody, with deep and sincere feelings, is just like Taiwan's flesh and blood compatriots earnestly expressing their wishes: "The ballad looks at home for thousands of miles, flesh and blood are in the west and east, leaning against the fence, leaning on the Huai Hsiang song, infinite hometown feelings." The second paragraph: expresses the excitement of Taiwan compatriots when they see their motherland thriving, as well as their praise and yearning for the motherland. The third section: the emotion is even more excited, showing the urgency and firm conviction of Taiwan compatriots who long for the unification of the motherland. Jia Pengfang adapted and played the "Nostalgia Song", omitting the second and third sections, changing and developing the first section; less excitement and excitement, more sadness and longing, a poignant melody that makes people think a lot, which is also the most touching aspect of the Chinese erhu. Yuxi two eight board, suona song "two eight board" in the early 80's of the last century due to the need to perform again to increase the power in the value of time from more than two minutes to develop for four and a half minutes, from the soprano suona to the alto suona, in the "two eight board" before the "Yuxi" added the word "Yuxi" that is, "Yuxi two eight board". Mr. Liu Wenjin wrote and revised "Yuxi Erbaiban", which was processed by Hao Yuqi in 1983. Through the meticulous simulation of the alto suona, it makes the blowing cavity in the fluttering through the rigidity, in the deep and simple through the softness, as chanting, as humming; here, as the green meandering point of water like the air spit sound of the soft chanting, so that the blowing cavity into the wood is even more touching. In the third section of the quick plate, in the development of the Yu opera fast flowing water plate, the flower cavity jumps and tumbles powder and flourish, giving people a sense of joy and pleasure. Huangtu love, Huangtu love is China's contemporary famous suona player Mr. Zhou Dongzhao created in 1992, the work has won China's third national orchestral music exhibition and evaluation of solo works first prize, and then was poured into the author of the suona album. This piece is very popular among suona enthusiasts at home and abroad, and it is also a common piece played by professional suona players. The piece expresses the infinite affection for the Loess Plateau with its melodious melody, and the suona's unique artistic expressiveness is fully utilized in the piece. Tianle is a suona concerto composed by the famous composer Mr. Zhu Zhen'er for the famous suona player Liu Ying in 1988, which was premiered in the "Shanghai Culture and Art Festival" in 1989 and won the "Excellent Achievement Award". In October of the same year, it was included in the repertoire of the second "China Arts Festival" in Beijing, and was performed again by the Hong Kong Chinese Orchestra in 1991, with a strong response. The style of "Tianle" is passionate and bold, funny and humorous, but also has a subtle and deep meaning, the composer will be the organic combination of national charm, modern techniques and the style of the times, for the suona has always been known for its roughness and exuberance, opened up a new artistic style of subtlety and elegance.