西皮、二簧腔的早期形態，應該是探討西皮、二簧腔淵源形成時不應忽視的問題。鮮為人知的清抄本西皮、二簧腔工尺譜的存在，讓我們看到了西皮、二簧腔的早期形態。本文對今存「音雅齋」西皮腔工尺譜抄本和清車王府藏西皮腔工尺譜抄本的分析，即是對西皮腔早期形態的初步揭示。抄寫於道光年間的音雅齋西皮工尺譜和車王府藏西皮工尺譜所記錄的西皮腔的板眼結構與今存西皮腔有較大差異，可能是西皮腔的早期形態。音雅齋及車王府藏西皮譜均為京城抄本，它們反映的應該是當時京城流行的早期京劇西皮腔的基本面貌。而道光年間抄寫於杭州的帶工尺譜「徽戲」抄本，則反映了今存戲曲舞台的京劇西皮腔的板眼結構與長江以南地區戲曲音樂板眼結構的聯繫。

The early pattern of xipi (西皮) and erhuang (二簧) tuning systems are a very important consideration for inquiring into the origin and formation of xipi and erhuang tuning systems. The Gongche scores of xipi and erhuang tunes, handwritten in the 19th Century, noted down the early pattern of xipi and erhuang tuning systems. This paper analyses the Yinyazhai (音雅齋) and Chewangfu (車王府) scores of xipi tunes, aiming at revealing the early pattern of xipi tuning. The musical pattern of these 19(superscript th) Century scores of xipi tunes is different from the musical pattern of xipi tunes of Peking Opera at present. The Yinyazhai and Chewangfu scores were both handwritten in Beijing, and they manifest main charactistics of 19(superscript th) Century Peking Opera xipi tunes. The Huixi (徽戲) score of xipi tunes, also handwritten in the 19(superscript th) Century in angzhou, is similar in music pattern to xipi tunes of present day Peking Opera. This evinces relations between the current music pattern of Peking Opera and that of Chinese traditional opera south of the Changjiang River.