Qianjiang folk songs refer to folk songs popular in the city, created by the working people in their work, life, customs and habits. The rich content, wide range of themes, diverse varieties and unique styles have amazed relevant experts and scholars. In a sense, Qianjiang folk songs are also weapons of struggle for the local people, orders for work, carriers of lyricism and tools for entertainment. Qianjiang folk songs are one of the typical representatives of the legacy of Chu songs. In the Zhou Dynasty, it belonged to "Zhou Nan", listed at the top of the fifteen national styles, and was the main body of Ya Yue and Yan Yue; in the late Warring States period, "Yang (Yang) A" that Qu Yuan and Song Yu talked about with great relish was Qianjiang folk songs; "Four-sided Chu Song" sang Qianjiang's "Chicken Crow Song"; "Chu Song Yue Yan652" in the Han Dynasty. These four types of three-tone prototypes are like the deformation of harmonic transposition, and the free alternation and mutual penetration of these three-tone series have led to the richness and diversity of folk music. Due to the "beautiful" beauty of Qianjiang folk songs, traditional folk songs such as "Number 1", "Ten Xu Shoes", and "Cui Dong Cui" are often cited as examples in professional research articles. Folk singer Chen Jiafeng participated in the National Folk Song Festival and was received by the central leadership; singer Gao Shang's song "Cowherd Chasing Weaver Girl" was sung in Zhongnanhai and broadcast on China Radio International. Qianjiang folk songs are rooted in Qianjiang dialect. In addition to the Chu language "Xi" and "Xie" in "Chu Ci" which are still commonly used "mantras" in this area, from the analysis of language tone color: Qianjiang, Tianmen, and Xiantao (formerly Mianyang) are a color area. This area is relatively independent due to less influence from the outside world, and has a certain influence on the Jianghan Plain. Qianjiang is the center of this color area, and the language tone spreads radially to the surrounding counties and cities to form variations. Its language tone characteristics are: the high voice is the color tone, which is classified as the yinping and qusheng of the four tones in the voice tone; the middle tone is the nuclear tone, which is classified as the yangping; the low tone is the pillar tone, which is classified as the shangsheng. Most of Qianjiang folk songs belong to three-tone folk songs. There are four commonly used forms: 1. Zheng three-tone series "152 (1 is high note)"; 2. Gong three-tone series "315 (5 is low note)"; 3. Yu three-tone series "163 (1 is high note)"; 4. Twin three-tone series "652". These four positive three-tone series prototypes are like the deformation of harmonic transposition, and the free alternation and mutual penetration of these three-tone series have led to the richness and diversity of folk music. Therefore, Qianjiang has been known as the "hometown of folk songs" since ancient times. "If you want to be beautiful and harmonious, you must first start with Yang'a and Cai Ling" in "Huainanzi Shuoshan". "Everyone who meets someone stops to look, and Yangsheng says it's good." in "Jiangling Music" are the historical records praising Qianjiang folk songs. [2] Representative songs include "Count 1", "Urge Dong Cui", "Where Can I Find Time to Go Back to My Mother's Home", "Pulling Cucumbers", "Ten Shoes", "There is a Small Place in China" sung by Wang Yan in 2011, and "Singing You Qianjiang" by Qianjiang singer Zhang Hui.