This paper examines the system of pitch and mode as practiced in Liaodong Drum and Wind Music (Liaodong Guyue), analyzing its manifestations in the repertoire, notation, and instruments. It clarifies the terminology related to pitch and fingering systems used for the ensemble's leading melodic instruments, the suona and guanzi (double-reed pipe). While traces in the extant repertoire suggest the historical use of the Jiezi (“borrowed-tone”) technique, fieldwork confirms that this practice is no longer actively transmitted among contemporary musicians. Furthermore, the tradition preserves only an incomplete form of Wudiao Chaoyuan (“Five-Tone Cycle”), which integrates segments of its melodic pattern with transposition.