壽寧北路戲的(de)(de)唱(chang)腔(qiang)除極(ji)少數(shu)具(ju)有高(gao)腔(qiang)曲牌體特(te)征外(wai)，大多數(shu)均屬板腔(qiang)體，曲調旋律優美，節(jie)奏(zou)歡快，行(xing)腔(qiang)順暢，帶有敘事性(xing)的(de)(de)表現(xian)特(te)征。其(qi)道白、唱(chang)腔(qiang)均使(shi)用普通話(hua)，這已成(cheng)為(wei)北路戲的(de)(de)一(yi)個突出特(te)色。在數(shu)百年的(de)(de)演出活(huo)動(dong)中，北路戲總結出一(yi)套深為(wei)廣(guang)大觀眾所喜愛的(de)(de)表演形式，不(bu)管(guan)什么腳(jiao)色行(xing)當(dang)，都以手(shou)、眼、身、法(fa)、步等肢體語言(yan)來表現(xian)人(ren)物性(xing)格和心(xin)理活(huo)動(dong)，推動(dong)劇(ju)情進展，這種對形體動(dong)作的(de)(de)強化和對人(ren)物內心(xin)活(huo)動(dong)的(de)(de)外(wai)化與(yu)(yu)唱(chang)腔(qiang)緊(jin)密結合在一(yi)起，唱(chang)與(yu)(yu)做高(gao)度和諧，形成(cheng)許多且歌且舞、兼文兼武的(de)(de)表演藝(yi)術形式，豐(feng)富了戲劇(ju)的(de)(de)表現(xian)力。
壽寧北(bei)路戲(xi)(xi)(xi)唱(chang)腔(qiang)(qiang)介于聯(lian)曲(qu)(qu)(qu)體(ti)與板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)體(ti)之間(jian)，以板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)體(ti)為(wei)(wei)(wei)(wei)主，以平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正(zheng)(zheng)、反(fan)(fan)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)為(wei)(wei)(wei)(wei)其(qi)(qi)基本唱(chang)腔(qiang)(qiang)，多數是上(shang)(shang)、下(xia)兩個樂句(ju)的(de)形式(shi)。唱(chang)腔(qiang)(qiang)節奏多變(bian)(bian)，尤其(qi)(qi)是以后(hou)半拍起音的(de)音樂穿(chuan)插在樂句(ju)中和(he)(he)大音程跳進等(deng)(deng)的(de)變(bian)(bian)化，使曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)活潑(po)奔(ben)放，優美動(dong)聽。唱(chang)腔(qiang)(qiang)可分為(wei)(wei)(wei)(wei)三(san)(san)類：一(yi)是平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正(zheng)(zheng)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)和(he)(he)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)反(fan)(fan)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)。平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正(zheng)(zheng)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)有(you)頭(tou)(tou)萬(wan)(wan)(wan)、二(er)(er)萬(wan)(wan)(wan)、三(san)(san)萬(wan)(wan)(wan)（一(yi)作(zuo)“反(fan)(fan)頭(tou)(tou)犯(fan)”、“反(fan)(fan)二(er)(er)犯(fan)”、“反(fan)(fan)三(san)(san)犯(fan)”）以及(ji)“老撥子”、“秦腔(qiang)(qiang)”、“梆子”（后(hou)兩種(zhong)為(wei)(wei)(wei)(wei)吹腔(qiang)(qiang)），均為(wei)(wei)(wei)(wei)橫哨戲(xi)(xi)(xi)中常用(yong)的(de)基本調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)。頭(tou)(tou)萬(wan)(wan)(wan)為(wei)(wei)(wei)(wei)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，二(er)(er)萬(wan)(wan)(wan)為(wei)(wei)(wei)(wei)慢(man)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，三(san)(san)萬(wan)(wan)(wan)為(wei)(wei)(wei)(wei)散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)或柳絲緊板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)。反(fan)(fan)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)如反(fan)(fan)二(er)(er)萬(wan)(wan)(wan)與二(er)(er)萬(wan)(wan)(wan)，只在開(kai)頭(tou)(tou)樂句(ju)上(shang)(shang)有(you)正(zheng)(zheng)反(fan)(fan)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)的(de)旋律，無調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)性(xing)上(shang)(shang)的(de)變(bian)(bian)化關系。二(er)(er)是疊(die)(die)(die)牌(pai)(pai)。此(ci)(ci)類曲(qu)(qu)(qu)牌(pai)(pai)旋律平(ping)(ping)易暢，有(you)如說白，是一(yi)套由(you)簡入繁(fan)的(de)同(tong)一(yi)音調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)不(bu)同(tong)節奏的(de)分曲(qu)(qu)(qu)體(ti)。如 [三(san)(san)字(zi)(zi)(zi)疊(die)(die)(die)]、[五字(zi)(zi)(zi)疊(die)(die)(die)]、[六字(zi)(zi)(zi)疊(die)(die)(die)]、[七(qi)字(zi)(zi)(zi)疊(die)(die)(die)]、[十字(zi)(zi)(zi)疊(die)(die)(die)]、[急疊(die)(die)(die)]、[溫州(zhou)疊(die)(die)(die)]、[卜子疊(die)(die)(die)]、[廣東疊(die)(die)(die)] 等(deng)(deng)，較(jiao)帶(dai)沉(chen)思(si)抒情(qing)特點，不(bu)似(si)其(qi)(qi)他同(tong)類曲(qu)(qu)(qu)牌(pai)(pai)風趣活躍。三(san)(san)是小(xiao)(xiao)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)曲(qu)(qu)(qu)牌(pai)(pai)。如 [溪(xi)江調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]、[小(xiao)(xiao)補缸(gang)]、[小(xiao)(xiao)桃紅]、[葡萄架(jia)(jia)]、[走(zou)廣東]、[茉莉花(hua)(hua)(hua)]、[廣明燈]、[游花(hua)(hua)(hua)船]、[平(ping)(ping)和(he)(he)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]、[步步嬌]、[男辭(ci)]、[女(nv)辭(ci)]、[踢球花(hua)(hua)(hua)腔(qiang)(qiang)]、[小(xiao)(xiao)上(shang)(shang)紋]、[烏盆(pen)計(ji)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)] 等(deng)(deng)。這些曲(qu)(qu)(qu)牌(pai)(pai)大多自(zi)其(qi)(qi)他劇種(zhong)和(he)(he)民(min)間(jian)小(xiao)(xiao)戲(xi)(xi)(xi)吸(xi)收(shou)，有(you)的(de)還來自(zi)某(mou)(mou)些流行(xing)劇目如 [烏盆(pen)計(ji)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]，是《烏盆(pen)計(ji)》中的(de)專曲(qu)(qu)(qu)。 此(ci)(ci)類曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)格(ge)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)較(jiao)雜，一(yi)般(ban)只作(zuo)為(wei)(wei)(wei)(wei)“插曲(qu)(qu)(qu)”運用(yong)。此(ci)(ci)外，板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)導板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)(he)頭(tou)(tou)萬(wan)(wan)(wan)散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，以及(ji)演皮(pi)黃戲(xi)(xi)(xi)時所用(yong)的(de)回龍，原(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)。這些曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)后(hou)來都成為(wei)(wei)(wei)(wei)北(bei)路戲(xi)(xi)(xi)的(de)輔(fu)助音樂曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)。如[三(san)(san)字(zi)(zi)(zi)疊(die)(die)(die)]、[五字(zi)(zi)(zi)疊(die)(die)(die)]、[六字(zi)(zi)(zi)疊(die)(die)(die)]、[七(qi)字(zi)(zi)(zi)疊(die)(die)(die)]、[十字(zi)(zi)(zi)疊(die)(die)(die)]、[急疊(die)(die)(die)]、[溫州(zhou)疊(die)(die)(die)]、[卜子疊(die)(die)(die)]、[廣東疊(die)(die)(die)]等(deng)(deng)，較(jiao)帶(dai)沉(chen)思(si)抒情(qing)特點，不(bu)似(si)其(qi)(qi)他同(tong)類曲(qu)(qu)(qu)牌(pai)(pai)風趣活躍。三(san)(san)是小(xiao)(xiao)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)曲(qu)(qu)(qu)牌(pai)(pai)。如[溪(xi)江調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]、[小(xiao)(xiao)補缸(gang)]、[小(xiao)(xiao)桃紅]、[葡萄架(jia)(jia)]、[走(zou)廣東]、[茉莉花(hua)(hua)(hua)]、[廣明燈]、[游花(hua)(hua)(hua)船]、[平(ping)(ping)和(he)(he)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]、[步步嬌]、[男辭(ci)]、[女(nv)辭(ci)]、[踢球花(hua)(hua)(hua)腔(qiang)(qiang)]、[小(xiao)(xiao)上(shang)(shang)紋]、[烏盆(pen)計(ji)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]等(deng)(deng)。 這些曲(qu)(qu)(qu)牌(pai)(pai)大多自(zi)其(qi)(qi)他劇種(zhong)和(he)(he)民(min)間(jian)小(xiao)(xiao)戲(xi)(xi)(xi)吸(xi)收(shou)，有(you)的(de)還來自(zi)某(mou)(mou)些流行(xing)劇目如[烏盆(pen)計(ji)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)]，是《烏盆(pen)計(ji)》中的(de)專曲(qu)(qu)(qu)。 此(ci)(ci)類曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)格(ge)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)較(jiao)雜，一(yi)般(ban)只作(zuo)為(wei)(wei)(wei)(wei)“插曲(qu)(qu)(qu)”運用(yong)。此(ci)(ci)外，板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)導板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)(he)頭(tou)(tou)萬(wan)(wan)(wan)散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，以及(ji)演皮(pi)黃戲(xi)(xi)(xi)時所用(yong)的(de)回龍、原(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)。這些曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)后(hou)來都成為(wei)(wei)(wei)(wei)北(bei)路戲(xi)(xi)(xi)的(de)輔(fu)助音樂曲(qu)(qu)(qu)調(diao)(diao)(diao)(diao)(diao)(diao)(diao)(diao)。
壽寧北路戲音樂中的(de)伴(ban)奏有(you)(you)琴(qin)串(chuan)(chuan)、吹牌(pai)兩種。琴(qin)串(chuan)(chuan)主要有(you)(you)[頭(tou)萬串(chuan)(chuan)]、[二萬串(chuan)(chuan)]、[三萬串(chuan)(chuan)]、[小(xiao)拉子]、[梳妝樓]、[大八板]、[九(jiu)環(huan)串(chuan)(chuan)]、[一枝(zhi)春]、[一枝(zhi)花]等(deng)(deng)。吹牌(pai)有(you)(you)[清如(ru)水(shui)(shui)]、[大尾聲]、[上酒樓]、[雙(shuang)貴子]、[龍(long)袍陣]、[風入松(song)]等(deng)(deng)。鑼鼓經(jing)有(you)(you)[二萬頭(tou)]、[下(xia)山虎]、[火炮]、[緊(jin)沖]、[水(shui)(shui)花浪]、[浪淘(tao)沙]、[十九(jiu)錘]、[九(jiu)鼎環(huan)]等(deng)(deng)。
20世紀60年(nian)代初，在挖掘整理過程中為突出(chu)以(yi)橫哨為主奏曲調的“北路調”。避免京劇化、經(jing)專(zhuan)家認可，音樂(le)中去除了(le)[西皮]（二簧）（四平調）等曲調。保留了(le)福建(jian)亂彈橫哨戲的特色，其(qi)音樂(le)明快、爽朗、易被(bei)觀眾接(jie)受。
壽寧北路戲各行(xing)當角色，在唱(chang)曲前都有(you)“叫(jiao)介(jie)”（或稱“叫(jiao)頭”），如(ru)“哭(ku)介(jie)”、“嘆(tan)介(jie)”、“訴(su)介(jie)”等類，均用(yong)(yong)拖長的(de)聲(sheng)調唱(chang)念，為無伴奏的(de)干(gan)唱(chang)，然后(hou)轉(zhuan)入唱(chang)腔。“叫(jiao)介(jie)”用(yong)(yong)于不同場合，如(ru)公堂訴(su)苦(ku)用(yong)(yong)“哭(ku)介(jie)”，徘(pai)徊悱惻(ce)用(yong)(yong)“嘆(tan)介(jie)”，閑(xian)情自得念詩(shi)詞用(yong)(yong)“吟介(jie)”，敘述情由用(yong)(yong)“訴(su)介(jie)”等。行(xing)當不同，“叫(jiao)介(jie)”聲(sheng)調各異。此外，大(da)將出場登(deng)場高時(shi)，有(you)時(shi)唱(chang)高腔，演員(yuan)干(gan)唱(chang)，無音樂伴奏，由幕后(hou)幫腔。
伴奏樂器(qi)主(zhu)要是長膜笛，佐以麻胡(hu)（毛(mao)竹(zhu)筒(tong)作琴(qin)筒(tong)，也稱(cheng)“大(da)京胡(hu)”）、板胡(hu)、三弦、月琴(qin)、嗩吶等。打擊樂器(qi)與(yu)京劇相似。
壽寧北(bei)路戲男女分腔，各行(xing)當各有特色，如(ru)小生用(yong)子喉(hou)（假嗓(sang)發聲(sheng)）。音色明亮、清脆，行(xing)腔蕭灑自如(ru)。武生接近小生者用(yong)子喉(hou)，如(ru)《白門樓》之(zhi)呂布(bu)、《三(san)氣周(zhou)(zhou)瑜》之(zhi)周(zhou)(zhou)瑜；而短打武生如(ru)《上酒樓》之(zhi)石秀則(ze)用(yong)本嗓(sang)發聲(sheng)。
青衣，子喉(hou)發聲。按(an)傳統，青衣由男性扮演，其音(yin)色凝重(zhong)悲切(qie)，行腔深沉委婉。
花旦，子喉發聲。音(yin)色甜脆，行(xing)腔跳躍(yue)，婉轉亮麗。亦有(you)以本嗓發聲。
老生，原喉（真(zhen)嗓）發聲。音色蒼(cang)勁洪亮(liang)，行腔悲愴蒼(cang)涼。
紅(hong)生，原喉發聲亦(yi)有與子喉行腔結合(he)的如《龍虎斗》趙匡胤(yin)。聲音有穿(chuan)透力，行腔抑揚(yang)頓挫、高亢寬(kuan)亮。
大花，原喉發聲。音色(se)濃重粗獷，以鼻音、腦后音為主，間用(yong)炸音。
三(san)花，原喉發聲(sheng)。音色清澈明亮(liang)，行(xing)腔詼諧活潑，常夾念、白于(yu)行(xing)腔中。
壽寧(ning)北路戲(xi)(xi)的樂隊俗稱“后臺”，有“軟件”、“硬介”之分(fen)。由(you)6人組(zu)成，俗稱“六條椅”。樂隊地位以鼓(gu)板為尊(zun)，正吹(chui)次之，正吹(chui)即北路戲(xi)(xi)主奏者，除(chu)了(le)拉(la)頭把（麻胡）外(wai)，還主奏橫哨、嗩吶。“六條椅”座位編(bian)制為：
1、硬(ying)介：鼓板、大(da)鑼(luo)、小鑼(luo)（兼檢場）、大(da)鈸
2、軟介(jie)：正吹(chui)一橫哨、嗩吶、麻(ma)胡(hu)
副吹一嗩吶、月琴或二(er)胡
三把一三弦
壽(shou)寧北(bei)路戲(xi)唱(chang)腔以橫(heng)哨（長膜(mo)笛(di)）為主要(yao)伴奏(zou)樂器，配(pei)之以麻胡(hu)。橫(heng)哨構造與曲笛(di)相(xiang)似,長60厘米(mi),笛(di)管(guan)口徑2.5厘米(mi)。正調吹(chui)奏(zou)筒音(yin)“6”反調吹(chui)奏(zou)筒音(yin)“2”。音(yin)色(se)柔和，活潑而悠揚，在北(bei)路戲(xi)平板類唱(chang)腔和秦(qin)腔中應用(yong)。
麻胡(hu)(hu)，用麻竹(zhu)制作，琴(qin)桿為(wei)(wei)小竹(zhu)根部(bu)制成，長(chang)600mm，琴(qin)筒長(chang)130mm，厚(hou)10mm，口徑65mm，以蛇皮蒙面，以竹(zhu)做碼。弓(gong)長(chang)760mm，絲(si)線為(wei)(wei)弦(xian)。音域寬廣(guang)、高亮。橫哨(shao)與麻胡(hu)(hu)為(wei)(wei)北路戲富有特色(se)的主奏(zou)樂器。
壽寧北路(lu)戲(xi)伴(ban)奏音(yin)樂由琴串與(yu)嗩(suo)吶(na)吹牌組成：
琴(qin)串(chuan)以橫哨、麻胡、二(er)胡、月琴(qin)伴(ban)奏，適應于生、旦(dan)人物動(dong)作表演(yan)。主(zhu)要(yao)有[頭犯(fan)串(chuan)]、[二(er)犯(fan)串(chuan)]、[三犯(fan)串(chuan)]、[小拉(la)子]、[梳妝樓]、[大(da)八板]、[九環(huan)串(chuan)]、[一枝春]、[一枝花]、[朝天(tian)子]、[天(tian)蛾仔]、[柳(liu)條金]、[夜青(qing)蛇串(chuan)]、[洞(dong)房串(chuan)]、[八叉串(chuan)]、[金石榴]、[小魚兒]、[安南(nan)串(chuan)]、[西皮跳(tiao)龍門]、[反(fan)跳(tiao)龍門]、[到(dao)春來(lai)]等曲調。
嗩吶吹牌(pai)用于(yu)升堂、出征(zheng)、喜慶、迎送之類劇情，有[清(qing)水(shui)令]、[醉太平(ping)]、[滿堂紅]、[上小樓]、[雙貴子]、[步步嬌(jiao)]、[水(shui)里(li)魚]、[風入松(song)]、[游街(jie)]、[過場(chang)仔(zi)]、[文點(dian)絳]、[武點(dian)絳]、[北相(xiang)桂]、[小河(he)歡]、[萬年歡]、[泣(qi)顏回(hui)]、[洞房吹]、[大過場(chang)]等(deng)。
鑼(luo)(luo)鼓(gu)：壽寧北路(lu)戲鑼(luo)(luo)鼓(gu)分唱腔(qiang)(qiang)(qiang)鑼(luo)(luo)鼓(gu)與(yu)身段鑼(luo)(luo)鼓(gu)。唱腔(qiang)(qiang)(qiang)鑼(luo)(luo)鼓(gu)為行(xing)腔(qiang)(qiang)(qiang)前的鑼(luo)(luo)鼓(gu)引板，如[頭犯]鑼(luo)(luo)鼓(gu)點為“格大(da)(da)大(da)(da)”，[反頭犯]鑼(luo)(luo)鼓(gu)點為“乙大(da)(da)、大(da)(da)大(da)(da)大(da)(da)大(da)(da)”。身段鑼(luo)(luo)鼓(gu)用于(yu)人(ren)物上下(xia)場(chang)、行(xing)軍(jun)、對(dui)陣等情節(jie)，有[下(xia)山虎]、[火炮]、[急(ji)急(ji)風]、[緊沖]、[長錘]、[三擊頭]、[水花(hua)浪(lang)]、[浪(lang)淘沙(sha)]、[十九(jiu)錘]、[九(jiu)鼎(ding)環(huan)]等，多數與(yu)京(jing)劇鑼(luo)(luo)鼓(gu)大(da)(da)同(tong)小異。
北路戲的代表性劇目(mu)主(zhu)要有《探(tan)陰山(shan)》、《對珠環》、《紙(zhi)馬記》、《鳳(feng)嬌(jiao)與(yu)李旦》等(deng)。
作為(wei)福建有影(ying)響的珍(zhen)稀劇種(zhong)之一，北路戲有著極(ji)(ji)深(shen)的文化內(nei)涵(han)和極(ji)(ji)高的歷史價(jia)值。
歲月(yue)靜好
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