Although the instructions for this tuning say, "lower the first and third strings", with minor adjustments both this modal prelude and the accompanying Fairy Jade in the Wind can be played with only the third string lowered (see further). On the other hand, the modal characteristics of both the prelude and the melody seem to be somewhat different from most melodies played in lowered third string tuning, as discussed under Shenpin Biyu Yi (in particular the tracing chart).

According to my analysis, modal characteristics are largely determined by the end notes of the individual phrases, especially the last notes of sections and the melody itself. As for the Jade Lady modal preface and its related titled melody, many phrases end on re and sol but the melodies themselves, after seeming to come to a resolution on do, then go on to end on la or la over mi.⁵

There is further comment on the modality under Xianpei Ying Feng.

 
Original preface

 
One section
Played together with Xian Pei Ying Feng (聽 Listen)

1. (No title)
     harmonic coda
     end

 
Footnotes (Shorthand references are explained on a separate page)

1. Yu Nü Mode (玉女意 Yu Nü Yi)
21296.29 玉女 yunü gives many meanings; there are also entries through 21296.38, two of which connect with poetry or music. The most significant early reference is the one in the Chu Ci poem 惜誓 Xi Shi (Sorrow for Troth Betrayed; see Hawkes, p. 240, Penguin edition):

Hawkes adds (footnote, p. 242), "The Jade Girls or Jade Women were star spirits, ethereal beings of great beauty and dazzling whiteness who feature a good deal in Taoist mythology."

Other significant early references to Yu Nü are in the Yuefu Shiji Wangzi Qiao poems (see especially p.438).
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2. Lower first and third strings
In the yunü modal prelude there is no harmonic or open string note played on the first string. In the third phrase the first string is stopped at the 10th position. To play this without lowering the first string, for this note simply stop the first string at the 11th position. Adjustments in the main melody, Xianpei Yingfeng, are similar.
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4. Jade Lade and Wei Furen
Jonathan Chaves sent me the following story and comment during an exchange we had about traditional methods of pairing lyrics and music.

For me a basic question is how strictly one should interpret "合節 in time with", and whether this is different when "singing" or "chanting".

Professor Chaves then added the following concerning the image of Jade Ladies:

5. Determining tonal centers
Since these tonal centers are defined largely by the notes that end phrases, whereas the tablature here includes no punctuation, the present interpretation of the modality must be considered as tentative.
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Return to the annotated handbook list or to the Guqin ToC.