What are the musical characteristics of Miao folk songs?

The folk music in the eastern, central and western dialect areas of Miao nationality is very different. The eastern dialect area is deeply influenced by the music culture of the neighboring Han nationality; There are many musical connections between the western dialect area and the Tibetan-Burmese language family. The inherent characteristics of this nation in the central dialect area are more distinct. But on the whole, Miao traditional folk songs still have many common characteristics.

In terms of modal scales, Miao folk songs mainly adopt four-tone series and five-tone scales. The main frame of the pattern has two three-dimensional structures: [[Domsol]] and [[Radomie]]. Introducing business sounds into the first frame to form a [[DoReMiSol]] Gongdiao four-tone series, and the range of such works does not exceed five degrees; Extending this frame (using tone sandhi) and introducing feather tones, two fine tuning tone sequences [[SolLaDoMiSolDo]] and [[SolLaDoMiSolLa]] are formed. At this time, the angle sound is often unstable, with upward sliding and downward sliding cavities, especially the rotation method between the size of the palace sound formed by downward sliding has the most national characteristics, and even becomes the symbolic acoustic characteristics of national traditional music. The second mode frame mostly forms a pentatonic scale.

In the aspect of rotation, Miao folk songs often use the three-dimensional structure of the mode backbone frame to break chords, and the melody appears to be more jumping. At the same time, the melodies of folk songs all over the country are centered around the core tone, and the basic role of the core tone is very prominent.

In terms of beat and rhythm, Miao folk songs adopt two forms: scattered board and board, and the board is the main form, and the non-functional even-divided rhythm is more common. Most of the beats are equally divided.