Folk songs mainly include folk songs, minor tunes, narrative songs, custom songs, children's songs and children's rocking songs. The lyrics of Zhuang folk songs pay attention to the contrast and pattern of words and sentences, and use waist and foot rhymes. The basic form is a 5-character or 7-character song with 4 lines. Variations include 3-line songs, embedded-line songs (such as 535-character songs), reduced-word songs (such as 4-line songs starting with 3 characters), long- and short-line songs (such as "four-six couplets" with 4-character sentences plus 6-character sentences), and foot-stretching songs. (8 lines are sung into 12 lines, that is, lines 1 and 2 are sung once after lines 5 and 6, lines 3 and 4 are sung once after lines 7 and 8), etc. The rhymes of the waist and feet and the form of leg binding are also very common in folk arts and operas, and are one of the unique stylistic elements of Zhuang music. The genres of Zhuang folk songs mainly include folk songs, minor tunes, narrative songs, custom songs, etc. There are many dialect titles of Zhuang language, such as Huanyue in Buyue, Biyayi in Buyayi, Shiyang in Buyang, Lunnon in Bunun, Jiadai in Buyang, etc. They are called Huan, Bi in short. , Shi, Lun, and Jia all mean folk songs. Traditional singing methods include solo singing, duet singing, duet singing, chorus, etc., which are divided into two categories: single part and multi-part. One of the character traits of the Zhuang people is that they are more euphemistic and reserved when expressing their thoughts and feelings. Therefore, Zhuang songs have evocative and breathtaking metaphors and beautiful comparisons. See "General History of the Zhuang Nationality" by Huang Xianfan et al.)

1. Single-part folk songs

The traditional tunes of Zhuang single-part folk songs vary greatly from place to place. Some are high-pitched and loud, some are smooth and smooth, and some are like chanting. Among the people, they are called high-pitched folk songs, flat-tuned folk songs, and folk songs with ballads.

① High-pitched folk songs: often sung in the mountains with a loud or small voice. Generally, it is a sentence structure of upper and lower sentences. The melody of the previous sentence is unrestrained. The tune has many words and sparse characters, and there are often high-pitched long sounds in the sentences, and the sentences end in half; the rhythm of the next sentence is short, the words are dense, the tune is tight, and the sentences often end with the main long sound in the high-pitched area. But it is often used to close the tone with a downward tone. Most of them are in palace, levy and shang mode. They all use fifths as the backbone. Such as Tanluo high tune in Yongning, Guangxi, Xiangxian high tune in Shanglin, Wawu tune in Qinzhou, long and short tunes in Longzhou, Shangshuai high tune in Lianshan, Guangdong, and Huanlongan and Lunapo tunes widely spread in Guangxi and Yunnan. Also known as Huanyang, Huanheihelie), etc.

②Ping-tune folk songs: The tunes are smooth and beautiful, the rhythm is slow and stretched, the structure is well-proportioned, the range is moderate, and the melody is full of singing. There are a large number of traditional folk songs in Huanyue in Shanglin and Yongning of Guangxi, Shiyang in Tiandeng and Daxin, Jiadai in Fusui and Chongzuo, Lunnon in Funing in Yunnan, and slow-melody folk songs in Lianshan in Guangdong. tune. Mostly use Zheng, Yu, and Shang modulations.

③ Ballads and folk songs: The tunes are close to spoken language, and they often use homophonic progression or rapid singing, and are recitable. The rhythm is regular, the sentences are compact, the range is not wide, the melody has no big fluctuations, and it is similar to a ballad. Such as the Zhonghe folk songs in Donglan, Guangxi, the Aohuan in Qiubei, Yunnan, the fast tunes in Lianshan, Guangdong, etc.

2. Multi-part folk songs

Zhuang multi-part folk songs are mostly two-part duets or choruses that combine the same voices. Commonly known as double tone among the people. Traditional tunes from various places are similar to single-part folk songs, and are also divided into three types: high tune, flat tune, and ballad. There are a small number of three-part folk songs in some areas.

① High-pitched double voice: The traditional singing method emphasizes singing in the low tone and following in the high tone. The singing tune of the bass part is called the tune of the tune among the people. There is a saying that the bass is the tune and the treble follows. The high-pitched voice is a derivative of the mouth of the mouth and often follows the direction of the mouth of the mouth. Make fills, stretches, variations. The two are preceded and followed, there is a master and a slave, there is a pair and there is a harmony, which is expressed as a derivative pair and two-part form. Since the range of each voice is narrow, the combination of the two forms a pentatonic sequence. Therefore, the combination of horizontal narrow range fluctuations and vertical narrow intervals is its characteristic. There are more Zheng or Gong modes, followed by Yu mode. The common song form is composed of three parts: the lead cavity, the main cavity, and the tail cavity. The correct tone is a sentence structure of upper and lower sentences. The tail cavity uses specific lining words to line the cavity to form a specific final sentence, which is usually the source of the cavity's appellation. Before the cessation, the progression from the major second to the unison forms a unique cadence.

② Flat double voices: Traditional singing methods include one high and one low (duet singing) or one high and two low (chorus). Folks call the two parts high-pitched and low-pitched, upper and lower, and upper and lower. The relationship between the parts is called ha high, ha low, over top, over bottom, singing up, singing down. That is to say, both are singing, and what is sung is the same tune. There is no distinction between master and slave. They pay attention to the harmony and balance of the voice parts. The two sing at the same time and end at the same time, rising and falling simultaneously, emphasizing the same rhythm, the same direction, and the same backbone sound, with branch-like fill-ins only appearing in the main long notes or in individual places in the high-pitched parts. It shows a cavity-lining parallel two-part form. Most of the lyrics are in seven-character up-and-down sentence rhyme style. The rhyme of the upper sentence and the rhyme of the next sentence are emphasized by long sounds or trills.

③Double singing of ballads: The traditional singing method calls the treble part to be sung and the bass part to be sung. Emphasis on "the bass supports the treble". The high-pitched part uses a combination of real and false voices, making the melody elegant, delicate and full of ballad quality; the low-pitched part uses real voices as a foil, with an uncertain melody and a short and sonorous rhythm, just like reciting. Only when the two long notes of dominance and subordination appear, the low voice is sung along with the high voice. The two parts form a sharp contrast and powerful foil. It is characterized by a unique sustained tone two-part form.

④ Three-part folk song: A three-part folk song of the Zhuang nationality is also popular in Mashan and Shanglin areas of Guangxi. It is commonly known as Santon Huan among the people. It is based on the two-part Huan, adding a It is formed by singing the bass part of the words "hum" and "na". The second and third parts are always characterized by parallel and synchronized minor thirds.

This music phenomenon is still controversial in the local music circle and needs further investigation and research. Also known as Wulun, it is mainly spread in Jingxi, Debao, Napo, Tiandeng, Daxin, Longzhou and other counties in the southern Zhuang dialect area. Mo Lun in Jingxi is divided into lower Jia and Shang Jia, while Mo Lun in Debao is divided into North Road and South Road. Among them, Jingxi Xiajia Molun and Debao North Road Molun developed rapidly and are the main components of today's Molun music.

Jingxi Xiajia Mo Lun, the libretto is generally composed of 7 characters and 6 sentences, with a 52-sentence pattern, rhyming with waist and feet, and can also be interspersed with 5-character sentences, 3-character sentences, white lines, etc. But sometimes the number of sentences in each paragraph can be less than 6 or more than 6, or even a multi-sentence arrangement of sentences is used. The singing tune is based on the fixed melody Xiajia Tune, the tune changes with the words, and the sentence structure is rigorous. The basic structure is 6 phrases, preceded by the introduction (Qi style) and followed by the coda (Sha tune). Use palace mode. The main accompaniment instrument is Sanxian. The performers play and sing by themselves.

Debao North Road Mo Lun, the lyrics are based on 6 sentences mixed with 5 and 7 characters. 32 or 322 sentence patterns, rhyming with waist and feet. The singing is divided into introduction, main text and coda. The main singing style is derived from Wu tune and is similar to Debao North Road folk songs. Use feather mode. The main accompaniment instrument is a chain or iron piano. It is played and sung by the performers themselves. Popular in Jingxi, Debao, Napo, Daxin and other counties in Guangxi. Nanlu Zhuang Opera originated from Jingxi String Puppetry and Debao Maai Double Act. The singing style is based on "Pan" and has more than ten kinds of tunes. The basic singing tune generally contains three parts: Qi Qiang, Zheng Qiang and Sha Qiang. The main tune is composed of upper and lower sentences, with waist and foot rhymes, which can be repeated arbitrarily, and the tail end of the tune is "Yahahaha" with its own characteristics. Accompanied by a small band.