中国传统音乐中五声性乐系乐曲的宫调判定分为宫(宫系,含调高和音阶)、均(特定音列)、调(调式)三个层次。判定调高须依据正音的确定,即五正声定宫。首先看是否存在音高有偏离、游移性的音,若有则按照偏音偏移原则,若无则按照五声骨干原则区分正音与偏音。之后可运用宫角大三度定宫的原则较为简便快捷地判定调高。若五正声中未出现宫角大三度,可用宫音不可少的原则,判定为含有宫音的形式。五声性乐曲中,调高变化根据新调的明确程度可分为异宫色彩、离调及转调三类。音阶分析是乐曲宫调分析中不应忽略、亟需加强的部分。对于均的分析应根据乐曲宫调结构中是否包含均的相关内容而定。调高和音阶明确后,通过各音的主次关系便能确定调式。

In traditional Chinese music, the determination of mode and key for pieces within the pentatonic system involves three analytical levels: gong (the keynote system, comprising the pitch level of the keynote and the scale), jun (a specific heptatonic scale), and diao (mode). Determining the pitch level of the keynote relies on identifying the five fundamental tones. The first step is to check for the presence of any non-pentatonic tones, which are structurally auxiliary in nature. If such tones are present, the principle of auxiliary-tone deviation is applied; if not, the fundamental and non-pentatonic tones can be distinguished directly according to the pentatonic framework. Subsequently, the principle of the gong-jue major third (the interval between the keynote and its mediant) can be used to determine the keynote more straight forwardly and efficiently. If this major third is absent among the five fundamental tones, the principle that the keynote must be present is employed to identify the form containing it. In pentatonic music, changes of the keynote can be categorized into three types based on the clarity of the new keynote: foreign-key coloration, temporary key-shift, and full key-shift. Scale analysis is an essential part of modal-key analysis and requires greater emphasis. Whether an analysis of jun is needed depends on whether the modal-key structure of the piece contains elements related to it. Once the keynote and scale are clarified, the mode can be determined by examining the hierarchical relationships among the tones.