The music of Daqiang opera belongs to the Taoist tune of Yiyang tune, which is combined with folk music from Yong'an, Youxi and Datian areas. There are about 60 singing tunes in existence, most of which retain their original names, such as [New Water Order], [Yijiang Feng], [Crying for Love], [Jintang Yue], [Zhuyun Fei], etc. The original names of some Qupai have been lost and were later named by artists, such as [Male and Female Pai], [Heshun Pai], [Traveling Pai], [Guanhua Pai], [Zouchao Pai], etc. Taoist tune often appears in the main arias, such as [Sanjiao Tune] in [Zou Chaopai], [Crying Tune] in [Xinshui Ling], etc. There are also some folk songs such as "Wuguangli", "Dabutan" and so on.

The structure of the singing tune is a combination of Qupai, with large ups and downs and high pitch. The actors' voices are mainly in the loud voice, with a combination of small and large voices, and the backstage continuously supports the singing during the performance, retaining the characteristics of Yiyang accent that one person speaks and everyone helps. The rhythm changes in the couplet are "scattered-upright-scattered" and "slow-tight-slow". Using the method of "cutting off the heads, leaving the tails, and leaving the center" or "leaving the heads, leaving the tails, and leaving the center" to combine several tunes into a new tune is a commonly used method for collecting tunes in Daqiang opera.

The singing style is characterized by "more words and less tone". The melody progression in the phrases has great fluctuations, often jumping in octaves or even tenths, and often showing drawl. Traditional tuoqiang is divided into two forms: eighteen-ban (commonly known as "full fold") and nine-ban (commonly known as "half-fold"). The drawl or the end of the accent is often added with words such as "ah, la, ai, luo, oh, yo" and "aiya - yi ya, yi ya - ai ya". It basically retains the characteristics of Yiyang tune that "it is not assisted by orchestral instruments, gongs and drums" and that "one person speaks and everyone helps". Most of the singing methods are performed by actors on the same stage and the band. There are two types of singing styles: zibang and qiangbang. Zibang has three characters, four characters and five characters. There are also cases where singing a cappella does not help.

The lyrics are mostly in the format of long and short sentences, which belong to the Zhongzhou rhyme. The actors use a combination of big and small voices, with the big voice being the main voice, and men and women share the same tone. The voice and accent of each line can be summarized as follows: "Dan Yin, Sheng Yang, Da Hua Ang; Er Lao Chi, Lao Wai?, San Hua sings at different speeds." It means that Dan uses a small voice and can speak freely and euphemistically; Sheng sings The big voice is resonant and bold; the big flower sings high-pitched and passionately with the guttural voice; the second flower has a hoarse throat voice; the foreigner's nasal voice is slow and empty; the third flower sings freely and freely, with no rhythm. A Daqiang opera troupe generally consists of 15 people, and the only accompaniment instruments are gongs, drums, cymbals, suonas and boards. Gongs and drums are an important part of the music of Daqiang opera. Bronze drums are used for singing, and backstage vocals are provided, and all the singing is in "local Mandarin". The drummer sat on a chair and played the drums, and kept singing from beginning to end, accompanying the actors. It includes two parts: suona playing cards and gongs and drums sutra.

(1) Suona playing cards

There are more than 40 existing ones, divided into eight categories: opening music includes [Bijialou], [Dianjiang], [Dakaimen], etc. ; Wine and banquet music include [Red Embroidered Shoes], [Desheng Pai], [Shangxiaolou], [Jintangyue], etc.; military rituals and music include [Jinbang], [Guangdong Song], [Five Horses Huichao Pai], [Zhuyun] Fei], [Gongtang Ling], etc.; weeping joys include [crying for lovesickness], [Lazy Thrush], [Leijiu], etc.; reunion joys include [worship reunion], [Ba Ban Tou], [Bu Bu Jiao], etc.; The music for playing the court includes [Zouchao], [Zheling Guiling], [New Water Order], [Yijiang Feng], etc.; the music for gods and monsters includes [Little Eight Immortals], [Shaotian Demon Cave], [Wind into the Pine], etc.; cutscenes The music includes [Ang Zijin], [A Letter], [Guanyin Praise], [Bai Jia Lou], [Gua Zi Ren], [Fortune Telling Song], etc.

(2) Gongs and Drums

In addition to the large and small transitions, there are also [big stage], [small stage], [flying drum], [long board drum] ], etc., in addition to the programmed [Opening Gongs and Drums], [Eight Immortals Gongs and Drums], [Jumping Platform Gongs and Drums], [Ending Gongs and Drums], etc. There were eight characters in the early stage, commonly known as the "Eight Immortals", also known as the "Eight Immortals", namely Zhengsheng, Xiaosheng, Zhengdan, Huadan, Modan, Dahua, Erhua and Chou. Later, the end corners were added, which are called "four gates and nine rows". The "four gates" are Sheng, Dan, Jing, and Chou. The "Nine Lines Head" are Sansheng, Sandan, and Sanhualian. "Sansheng" refers to Zhengsheng, Xiaosheng, and Fusheng (called Laosheng in some places); "Sandan" refers to Zhengdan, Xiaodan, and Fudan; "Sanhualian" refers to Dahua, Erhua, and Sanhua (ugly). Finally, the Daqiang Opera added the roles of Laowai and Zhandan (Tiedan). Generally, the performance is mainly performed by "Nine Corners". If the profession is not enough, it will be replaced by other roles.

The "Four Doors and Nine Lines" are all played by male actors. Jing and Chou sing with their own voices (big voices), while Xiaosheng and Xiaodan sing with falsettos (small voices). Men and women sing regardless of palace tune. However, each profession has certain requirements for the style and tone of the song. The artists’ formula is as follows: “Dan Yin, Sheng Yang, Da Hua Ang, Er Hua Chi, Lao Wai (that is, Lao Sheng) has no (pàn), and San Hua can be sung at different speeds. "Meaning: Xiaodan uses a small voice, and her voice is smooth and euphemistic; Xiaosheng uses a small voice, and the voice is bright and refreshing; Dahua uses a big voice, and sings high-pitched and passionate; Erhua uses a laryngeal voice, and the voice is thorny; Foreigner uses a nasal voice, slow and slow It is sung in a vague way; when Sanhua sings, the speed can change. Daqiang opera comes from Jiangxi and was influenced by religious rituals in the early days. Therefore, the performance is accompanied by the rituals of Taoist priests and shamans. At the same time, because the opera was often performed in conjunction with the puppet show, certain performances were absorbed from the puppet show. However, the main role of Daqiang opera has its own set of strict scientific introductions. For example, the techniques are: "Xiaosheng's sword points are flat on the shoulders, Xiaodan's hands are like orchids and the breasts are flat, Daqiang's hands are like tiger claws and the head is flat, and Erhua's round hands are flat. On the eyebrows, the three-flowered hands are like chicken claws wrapping around the liver and spleen.

"Footwork methods include: "Xiaosheng walks flat steps, Xiaodan walks Ding steps, Fudan walks plum blossom steps, Dahua walks long strides, Erhua walks two steps, and Sanhua runs randomly. "Each profession has its own specific rules and regulations, such as entering the arena to dominate, shaking your sleeves and covering your face, walking three steps to the entrance of Kowloon, blowing away the dust with your sleeves, turning left and right, making an appearance, and fighting in public. In addition, , there are also subjects such as hair swinging and horse riding, which absorb the performing arts of Xiaoqiang opera, while Sheng, Dan and Chou retain more traditional simple and rough performance routines.

Xiaosheng walks in a dignified manner. Steady and straight; Xiaodan walks a T-step, one step forward and one step backward, slim and leisurely; Fudan (middle-aged and elderly women) walks a plum blossom step; Clown walks a "three-flower jump", swinging his hands and hooking his feet back, which looks like jumping.

The traditional procedure of stage management in Daqiang opera is "walking through three stages", that is, after the actors come on stage, they go to the exit in the opposite direction, that is, turn to the center of the stage. , then turns south to the exit of the stage, forming a triangle, commonly known as "Lao Eel Twist". The walking pattern when students and teenagers are miserable is called "Budai Step", that is, the four corners of the stage are surrounded by a circle, which looks like a cloth bag; When armies are facing each other, the "Puer Five Plum" step is performed, also known as "Ji Chuan Hua", to show that the atmosphere is tense and the battle is fierce. Five Stars Chuan Hua: When performing the scene of the two armies facing each other and starting a battle, there are not enough actors on the stage. Through the form of five stars wearing flowers, a strong atmosphere is created, such as in "The White Rabbit" when Wang Yanzhang rebelled and Liu Chengyou led his troops to quell the rebellion. Both sides had only two soldiers, each holding a sword to show that there were thousands of troops; The pawns shouted in unison, and the backstage actors and the backstage band members sang loudly in unison, adding intense gongs and drums to intensify the tense and intense atmosphere. At this time, the two pawns walked through the flowers on the stage in five directions: east, west, south, north, and center. , each direction is in the shape of a plum blossom petal, so it is also called "Puerting Five Plum Blossoms"

Using a table and two chairs on the stage as props, and using the chairs as sedan chairs to perform the lifting action. For example, at the end of "White Rabbit", when Liu Zhiyuan and Yue Shi return to Shatuo Village to pick up Li Sanniang, they sit side by side in front of the stage. Every time they sing a line, the two pawns who are present as bearers will change the stage back and forth behind them; The singing gets faster and faster, and the two pawns move faster and faster to express the changes in time and space. This kind of performance, which uses chairs instead of sedan chairs, is rare in other similar plays.

The demon spits fire: In "White Rabbit", when Liu Zhiyuan was forced to look at melons in the melon garden, he encountered the "melon spirit" actor who mixed rice wine and tea wine in his mouth. In the performance, paper media is used to ignite the flames, and fire is spit out from the mouth to show the terror of the monster. The skill of spitting fire depends on the amount of air breathed out by the actor. The more times, the higher the skill, and he has to do somersaults while spitting fire. .