The development of the Hakka Opera in Taiwan has been merely a hundred years to date. With its maturity from the small singing and dancing ”three-role tea-picking opera” to the present grand formal play, the contents of its music changed over the time to meet different theatrical requirements, be it performed on stage or on television. The most obvious change has been the adaptations of the singing tunes of shange (mountain songs) and caicha (picking-tea) into tempo tunes. Taking the ”pingban” (level tempo) tune as an example this paper examines the origin of the tempo tune, concretely pinpoints the changing melody of the tempo style, and explicates its current transition in the Hakka Opera. It also illustrates the similarity and disparity between the Hakka Opera ”pingban” tune and other traditional Chinese dramatic arias through the comparison of their respective settling of tunes and playing of accompaniments.