Gongchi, a term for opera music. Generally refers to the scale symbols noted on the right side of the lyrics on the opera score. my country's traditional folk music uses the words "He, Si, Shang, Chi, Gong, Fan, Liu" as the symbols of the scale, which is equivalent to "56712345" in Western music. It is customary to refer to these symbols collectively as "gongchi". Some music scores only note the banyan (beat) next to the lyrics, but not the work ruler. There is a musical score of Gongchi, which is called Gongchipu.

Banyan, a term for opera music. When singing traditional songs, a drum board is often used to set the beat, and every strong beat is struck on the board, so the beat is called a board. The second strong beat and the weak beat are called the middle eye and the small eye respectively (in the four beats, the first weak beat is called the head eye or the first eye, and the latter weak beat is called the last eye). Collectively called the paneye.

Going through the door, a musical term for Peking Opera. It refers to the interlude music between arias and arias and between arias and arias. Small transitions are often used between arias and arias, and large transitions are often used between arias and arias. However, due to different board types, there are many exceptions and there is no fixed pattern.

Guaer, a term for Peking Opera music. Gua'er is a homophone of "Guo'er", which specifically refers to the big bridge between arias and arias, and generally refers to the cadenza interlude music. The small transition between the arias and the arias is not called a hook.

Head rest, Peking Opera music term. It refers to the melody that plays the role of building a bridge between the music collections and the music collections. It is called the head cushion or the small head cushion, also known as the bridge. The head-cushion melody is short, usually only two or three beats, and serves as a link between the previous and the next.

Xingxuan, a term for Peking Opera music. Refers to the background music when actors perform actions or dialogues or monologues. Xingxuan is mostly the repeated performance of Qupai or simple melody, which mainly plays the role of setting off the atmosphere.

Tune refers to the pitch of an actor’s singing. Whenever a string instrument is used for accompaniment, the tone is freely set according to the height of the actor's voice. Among the Peking Opera tunes, the Zhenggong tune is generally the moderate one, the highest is the Yi-zi tune, and the lowest is the Fan-zi tune, commonly known as the Pai-zi tune. In the same play, the two main actors have different pitches, sometimes accommodating each other, and sometimes temporarily long (raising) the tone or falling (lowering) the tone.

Diaomian, the pitch of the actor's singing is the same as the pitch of the accompaniment instrument (Huqin, flute, etc.), which is called Diao Mian. It means singing according to the "tune gate" appearance. Noodle adjustment is for base adjustment. In general, the actors sing the tune.

In the bottom tone, the pitch of the actor's singing is an octave lower than the pitch of the accompaniment instrument (huqin, flute, etc.), which is called the bottom tone. It means singing according to the bottom tone of the tune. The bottom adjustment is for the noodles. Some singing styles of Peking Opera, such as the doll tune, are often raised. If the tune is set high, the actor's voice is not as good as the voice. If the tune is set low, the volume of the instrument is too low. Therefore, a low-pitched singing method is used to set the instrument an octave higher. , the actor sings an octave lower.

Dingxian refers to the setting of the "tuning gate" of string instruments (Huqin, Ruan, etc.). Generally, the flute is used as the standard for tuning.

Yizi tune, a term for Peking Opera music. One of the tune gates used in Gongchipu. When tuning the strings, use the "B" sound of the Xiaogong tune of the flute (open the fifth hole and play the high note), and tune the "Gong" sound of the Huqin (the open string of the outer string of the Xipi tune). Yizi tune is the highest tune in Peking Opera.

Gongzheng Diao is also called Zhenggong Diao. Peking Opera determines the tune of the Huqin based on the pitch of the flute. The outer string of Xipi is of the same pitch as the Gongyin of the Zhenggong tune of the flute, which is called the Zhenggong tune. The one that is one degree higher than the main palace tune is called Yizi tone, the one that is half a degree higher is called Gongban tone, the one that is one degree lower than the main palace tune is called Liuzi tone, the one that is half a degree lower than the main palace tune is called Liuzi tone, and the one that is two degrees lower is commonly known as Paizi tone.

Gong Ban Tiao is one of the Tune Schools of Peking Opera. Slightly higher than the Zhenggong tune and slightly lower than the Yizi tune. When tuning, the tuning should be slightly higher than the flute's Zhenggong tuning.

Ruan Gong Diao is one of the Peking Opera tunes. It is slightly lower than Zhenggong Tune and slightly higher than Liuzi Tune. When tuning, the tuning should be slightly lower than the flute's Zhenggong tuning.

Liuzi tune is one of the tunes of Peking Opera. When tuning the strings, use the "six" tone of the Xiaogong tune of the flute (all six holes are fully closed, playing high notes), and the "Gong" tone of the Huqin (the open string of the outer string of the Xipi tune). Six-character tune is a tune that is lower than Zhenggong tune and moderately high in Peking Opera.

Lai Zi Tune is also called Pa Zi Tune. One of the tunes of Peking Opera. Anything that is more than one degree lower than the Liuzi tone is collectively called the Paizi tone.

Walking, the origin of "Walking" is said to be derived from the dance figures in the Jin Opera "White Tiger Whip·Walking"; secondly, it is said that characters walking on the side often hide near walls and roads because they are afraid of being seen. The body walks at night, so it is called "walking by the side". Generally speaking, Huang Tianba in "Evil Tiger Village" has the most difficult time walking around. Lin Chong in "Night Run" is the most tired while walking, and Wu Song in "Centipede Ridge" is the most exhausted while walking.

Horse riding, since whips are often used in Peking Opera to replace horses, or as a symbol of riding, so anyone who holds a whip and waves it on the stage uses rounding, turning over, lying on the fish, cutting the body, throwing forks, and picking out feathers. Peking Opera's horse riding is a combination of dance movements such as beating, reining in, or galloping the horse.