The production methods and specifications of guqin silk strings should change with the historical inheritance of the qin. Whether the production methods and specifications of the silk strings of the Tang and Song Dynasties and the silk strings of the Ming and Qing Dynasties have changed is still unknown.

In the silk strings that have continued to this day in the Qing Dynasty, the friction of the left hand on the strings is very loud, which to some extent blocks and interrupts the progress of the music melody. When playing the traditional music from the Ming Dynasty and before the Ming Dynasty (most of them are the relics of the Tang and Song Dynasties), the "walking hand tone" is rarely used. The short-valued "walking hand tone" has a louder sound, a small friction sound, and the murmur can't cover the musical sound. This weak rubbing sound also brings some natural affection and "taste", which is just right, because these qin pieces have "more sound and less rhythm". When playing some slow qin songs of the Qing Dynasty with "less sound and more rhythm", the time of the "walking hand tone" is often the volume of fricative sounds that overwhelms the weak rhythm. Even the music has disappeared, and the left hand is still moving up and down on the strings. The friction sound replaces the progress of the music and the progress of the melody, which greatly affects the expressive performance of the musical instrument as a musical art. Beginning in the late Ming Dynasty, the style and fingering of Guqin changed to "less sound and more rhythm", which was a big change in the history of the qin. In this way, it can adapt to the silk strings played in the Ming Dynasty and before the Ming Dynasty, but it will not adapt to the Qing Dynasty! This leads to the above-mentioned drawback of "the friction of the left hand on the piano surface is very loud, which to some extent blocks and interrupts the progress of the music melody".

However, the old-fashioned and retro-conscious qin players in the Qing Dynasty did not realize that the production of silk strings should be improved, but adjusted their aesthetic habits in the passing time and adapted to the noise that hindered the progress of the qin music. . In the Qing Dynasty, the qin music declined step by step, and the art of guqin emphasized morality and form, while the artistic function of music was developed to the extreme. The musical beauty of guqin seemed to them no longer important.

In contemporary times, there are still some piano players who are accustomed to the excessive friction sound and don't care much, and even think that this is the origin of the tradition. But most piano players think that this is traditional helplessness. Among the previous generation of qinists, Wu Jinglue, Xu Lisun and other predecessors did not think that this is the excellence of the tradition. When they played the qin, they tried to reduce the friction sound that overshadowed the musical sound as much as possible, and they also commented on this. There are text left. In my opinion, it is the string making that has not kept up with the changes in artistic development, which has caused this state of incompatibility.