现今传统京剧音乐——皮黄腔——伴奏的程式是逐步形成的。京剧乐队所使用的乐器,在演奏过程中能形成很好的“点线”结合以达到丰富的音响效果。京胡演奏具有各种独具特色的滑音、泛音、单倚音、双倚音、颤音等装饰性演奏技术;使用加花变奏伴奏声部,再配合京剧演员演唱的独特的音色及若干的装饰性滑音形成的独有的京剧风格韵味。分析这诸多因素之间形成的关系,可以得出中国传统音乐中同样存在对比复调与模仿复调的结论。特别是戏曲音乐中所产生的复调技术也与西方的复调技术有相同之处。以往,人们都认为只有西方作曲技术中运用对比、模仿复调技术,而中国的复调只是“支声”复调形式。我们应该重新认识、了解中国民族音乐中的复调性。 Nowadays the traditional Peking opera music - yellow skin - accompaniment program is gradually formed. Beijing opera band instruments used in the performance process can form a good “dotted line ” combination to achieve rich sound effects. Jinghu performs a variety of decorative performance techniques such as sliding, overtone, sole, sound, vibrato, etc .; using jagged accompaniment parts, together with the unique timbre of the Beijing opera performers and some decorative Slippery sound formed unique Peking Opera style charm. The analysis of the relationship between these many factors leads to the conclusion that the traditional Chinese music also contains the comparative polyphony and imitative polyphony. In particular, the polyphonic technology produced in opera music is also similar to the Western polyphonic technology. In the past, people all thought that only the use of contrast in Western compositing techniques imitated the technique of polyphony, and that the polyphony in China was only a form of polyphony. We should re-understand and understand the polyphony in Chinese folk music.