般涉調之名來自宋燕樂。《全元散曲》以般涉調〔耍孩兒〕或〔哨遍〕組套者，共有四十二套；劇曲般涉調雖未有單獨組套者，但雜劇聯套常見〔耍孩兒〕、〔哨遍〕、〔煞〕等曲牌之曲段組織，與中呂、正宮套數聯用，形成借宮聯套。《元曲選》和《元曲選外編》借〔耍孩兒〕曲段以聯套者，共有七十二本。北曲雜劇之般涉調曲段與諸宮調說唱關係密切，《劉知遠諸宮調》、董解元《西廂記諸宮調》等作般涉調之曲頗多，但牌調形式與戲曲般涉調不甚相同。本文就般涉調在諸宮調和戲曲中的牌調、聯套形式深入分析，就作品以歸納類型；〔耍孩兒〕用入劇曲聯套，具有「借宮」的意義，在劇情上常有轉折之變化，從劇情探索聯套之寫作筆法，可見元雜劇作者以借宮聯套變化戲劇情節的內蘊意義，亦可見元雜劇承繼諸宮調的遺形。在諸宮調和戲曲聯套曲段的分析比較中，二者呈現互為影響的聯繫。

In the collection of ”The Northern Verse of the Whole Yuan Dynasty” found ”Pan-She-Tien” by the melody of ”Shua-Hai-Erh” or ”Shan-Pien” were totally 42 pieces in group sets, because ”Pan-She-Tien” couldn't be existed alone. In the plays of the Yuan Dynasty could be read often ”Shua-Hai-Erh”, ”Shan-Pien” and ”Sha” composed by the melody of ”Chung-Lu” or ”Cheng-Kong”. Investigated the ”Collection of Verse of Yuan Dynasty” and ”Extra Collection of Select Verse of Yuan Dynasty”, where by the melody of ”Shua-Hai-Erh” were totally 72 pieces in group sets. The melody of ”Pan-She-Tien” as well as ”Chu-Kong-Tien” got involved. The play called ”Mr. LIU Chih Yuan by the melody 'Chu-Kong-Tien'”, the play ”Western Cabinet Notes” by TUNG Chieh-Yuan and others by ”Pan-She-Tien” melody found quite a lot, though the melody of ”Pan-She-Tien” in the verse differed from the ”Pan-She-Tien” in the play. This research found that ”Pan-She-Tien” differed from ”Chu-Kong-Tien” by the melody, has been deep analyzed, arranged and inducted into the various types. Further, the research explored the plots diversity, related to the plays in group sets, finally found the left melody of ”Chu-Kong-Tien” in the plays of the Song Dynasty.