Of course, the musical characteristics of Tujia folk songs should be analyzed and summarized based on the songs sung by this nation in its own language-Tujia language. If we focus on Tujia folk songs in Chinese, the musical features reflected are generally consistent with those of Han folk songs in the upper reaches of the Yangtze River and southwest style areas. Based on Tujia folk songs, this paper analyzes and summarizes the musical characteristics of unearthed family traditional folk songs.

Tujia folk songs all adopt pentatonic scale. There are [lasiremisol] and [lasiremisol] in the modal sequence, and the downward [solmiresi (do) la] in the modal sequence shows a more distinctive national attribute.

The pure fifth formed by the tonic "1a" and the upper fifth "mi" plays a key role in the melody. It can be said that the melody basis of Tujia folk songs is a pentatonic scale, the external frame of the melody is la→sol minor seventh degree, and the internal core of the melody is 1a→mi pure fifth degree.

The tonic at the end of the phrase is prolonged and falls, which has a strong sense of stability. Further emphasizing this progress at the end of the song will form a complete sense of termination.

The biggest musical difference between Tujia folk songs in Youshui Valley in western Hunan and Qingjiang Valley in southwestern Hubei lies in the fact that the former uses a pentatonic scale with a pure fifth degree as the core, with a big jump in melody and a loud and enthusiastic style; The latter mostly uses the [LaDoRE] three-tone series with the third degree (LADO) as the core, which has a smooth melody line and a simple style.

Tujia folk songs mostly adopt non-rhythmic, board-based beat patterns, and mixed beats are very common. The rhythm pattern with short front and long back is more prominent. The rhythm layout is mostly dense before and sparse after.