Scale composition: The melody of northern music is composed of heptatonic scale, while the melody of southern music uses pentatonic scale.

Wu Bian Zheng and Bian Gong Er Yin are significant signs that distinguish Northern Qu from Southern Qu.

Voice characteristics: The progression of the melody is restricted by the voice of the lyrics. The melody progression of Beiqu is dominated by northern phonology. It has four tones: Yinping, Yangping, Shangsheng and Qusheng. The entering tone is classified into Ping, Shangsheng and Qusheng. This was centered in Dadu (Beijing) of the Yuan Dynasty at that time. Characteristics of northern languages. Deqing of the Yuan Dynasty wrote "Central Plains Phonology" after mastering the characteristics of the northern language and the rhyme rules of Northern Opera. Later, the creation and singing of Northern Opera were based on this book. Analyzing the existing Zaju music, the ups and downs of its melody progression are basically consistent with the ups and downs of the tones of today's Beijing language. The southern dialect has entrance tones, the tones are also different from those in the north, and the progression of the music melody has its own characteristics.

The melody progression of Northern music often uses jumps, and the use of exciting big jumps is also very common, unlike the soothing progression of Southern music.

Rhythm characteristics: The rhythm of Northern music is more rapid, straightforward and smooth, and the words used in the lyrics are relatively tight; the rhythm of Southern music is slow, delicate and long, and the words used in the lyrics are relatively loose. Therefore, Northern Opera has the characteristics of "more words but less vocal emotion" because it has "more words but less vocal emotion"; Southern Opera has the characteristics of "less lyrics but more vocal emotion" because it has "fewer characters but slower tune".

Rhythm characteristics: The tempo of Yuan opera is faster. Its slowest tempo is Yiban Sanyan (four beats). The slowest tempo of Southern opera is doubled the slowest tempo of Northern opera. , is a bonus board with three eyes. It is in harmony with the rapid and soothing rhythm.

Banyan form: The ancients generally believed that the northern song is a flexible one, and it is more free to add lining words between sentences, and the number of banyan can be more or less; the southern song is rigid, and no lining words can be added, except for the Sanbanqu Pai Except for the next base plate at the end of each sentence, the number of plates and the position of the lower plate in other Qupai patterns are fixed. The use of "ban" at the end of the song lines in Northern and Southern songs is also different. In a three-eye song, the last character of the Southern song is often on the "ban" position, while the last character of the Northern song is sometimes on the "ban" position, and sometimes In front of the board - the bottom board. Among the songs of Dingban, Northern songs mostly use the bottom plate, while Southern songs do not. Xu Dachun of the Qing Dynasty (? - 1778) said in "Yuefu Sound Transmission·Butterboard Singing Method": "Only the baseboard is used for the introduction of southern music, and the rest have fixed boards. There are many baseboards for northern music." As for why northern music mostly uses the baseboard, Yang Yin Liu In the "Manuscript of the History of Ancient Chinese Music", it is said: "We still only know how it is, not just why. It may be related to the northern language and recitation style, and it is probably not without reasons in life."

< p>Music style: Due to the differences in geographical environment, customs and cultural traditions between the north and the south, they have formed their own different styles in music. Many ancient people have commented on this.