The right hand of the guqin also has the difference between the fingers and the difference between the fingernail and the finger surface. The strumming of the right hand is carried by the big, index, middle and ring fingers. Generally speaking, the big and middle fingers are stronger, and the index and ring fingers are weaker. The four-fingered strings are divided into two types: back armor and finger surface meat. The former has a lighter, thinner and brighter tone, while the latter has a heavier, thicker and stronger tone. Peng Zhiqing, a famous modern qin master, has made a detailed analysis of this. He said: "To distinguish between nails and flesh, those who are light and clear should be picked; those that are light and dirty should be smeared. Yes; those that are heavy and turbid are hooks. If one or two of the outer strings are light, use plucking; if they are heavier, use hooking; If the strings, three, four, and five are light, use wiping and picking, and if they are heavier, use hook and tick. Wipe tick and hook and pick to get the right sound, and pluck and split the support to get the answering sound, and each one refers to it from below.”

Guqin is played by pressing the strings with the left hand to pick up the notes and playing the strings with the right hand. The difference in the finger of the left hand and the position of the finger on the string can cause the difference in timbre. In addition to the middle finger and the index finger, the most commonly used fingers for pressing the strings with the left hand are the ring finger and the big finger; Generally speaking, when the ring finger is pressed, the sound is warm and firm, while the big finger is crisp and bright; the one with flesh is warm and firm, and the one with half nails and flesh is crisp and bright.

As far as the right-hand strumming is concerned, the range of its strength changes is very wide. Due to the effective string length and wide amplitude of the guqin, the same strumming technique can produce very soft and erratic sounds, as well as very heavy and strong sounds, depending on the strength of the player. For instruments with relatively short effective strings, such as Pipa, Ruan, etc., the range of change is much smaller. In fact, the four fingers of the guqin strings themselves also have different strengths. Generally speaking, the holding and splitting of the big finger and the tickling and hooking of the middle finger are particularly strong, while the index finger and the index finger are relatively weaker. Among the four fingers, the effects of using meat bullets and armor bullets are different. The sound line from the meat bullet is thicker, while the armor bullet is thinner; if the force is equal, then the thicker one is larger in size and the unit pressure is smaller, so the strength wins; the thinner one is smaller in size and the pressure is stronger, so the strength wins. When playing the guqin, you can choose the appropriate stringing technique according to the needs of the sound intensity, and the choice is quite large.

The left-hand fret technique also affects the dynamics. First of all, the different parts of the string and the difference in the technique can cause changes in the intensity. As far as fingers are concerned, there is a difference between the big finger and the name and middle finger: the big finger is bright and powerful, and its sound line is thin and smooth; the name and middle finger are soft and warm, and the sound line is thicker and looser. As far as the strings are concerned, there is a difference between a flesh press and a half-armor-flesh press: the half-armor-flesh press is bright and powerful, and its sound line is thin and smooth; the meat press is soft and warm, and the sound line is thicker and looser. Those with thin and smooth sound lines have dense texture and strong strength; those with thick and loose sound lines have sparse texture and weak strength. How thick or thin, how strong or weak, you can also choose the appropriate string pressing technique according to the strength requirements of the music performance.

In addition to the technique and power used by the left and right hands, the tension of the guqin pronunciation also comes from the speed of the fingers of the left hand. Generally speaking, the faster the speed, the stronger the strength, and vice versa, the more relaxed it is. But, more importantly, it depends on the changing state of the speed. When the left hand uses Chuo, Zhu and other techniques, its fingers are usually non-uniform, that is, variable speed, and they are either in a deceleration state or in an acceleration state. The trajectories formed by uniform motion are straight lines, while deceleration and acceleration motions are parabolic or anti-parabolic. Straight lines do not form tension, and only parabolas (including inverse parabolas) are lines that are rich in tension. The difference is that the trajectory of a parabola is from tension to relaxation, while the trajectory of an anti-parabola is from relaxation to tension. Those who tend to be tense are strong and vigorous, and those who tend to relax are smooth and stretched. The effects are different, but they are all sound lines full of tension. Most of the trajectories formed by the guqin when it is played in the Chuo and Zhu way are parabolic or anti-parabolic, so it is very tense.