Guqin not only sounds beautiful, but also has a very rich expressiveness.

Ji Kang made a vivid description in his "Qin Fu": "If you listen to it from a distance, it will be like a phoenix and ming play in the clouds. If you are forced to observe it, it will be like a lot of flowers and spring breeze. It is rich and colorful. , and good at the beginning and end at the end. The beauty of the beauty is magnificent, and the perversion is endless."

Ancient literati were good at qin, especially poets and literary masters, because of their deep understanding of qin music, they left many famous poems and essays on qin. For example, Li Bai's poem "Shu monk hugs green qi and descends to Emei Peak in the west. When you wave your hand for me, it's like listening to Wanhe pine." Hearing the "splashing" sound of the performer's hands, it was like rolling mountains and valleys.

Han Yu wrote in the poem "Listening to Master Ying Playing the Qin": "... I have two ears, but I don't think about listening to the silk. Since I heard Master Ying play, I got up and sat next to it. Pushing my hands abruptly stopped, I was wet with tears. Yinghu Yinghuer is sincere and capable, and I can't put a charcoal in my gut." Master Ying's performance brought the artistic expression and musical appeal of the Guqin solo to the extreme.

Ouyang Xiu said in "Sending Yang Zhi Xu": "...the string is abrupt, and suddenly it changes. Those who are in a hurry are desolate, and those who are slow are soothed and peaceful, like a cliff breaking a stone, a mountain springing out, and a stormy night. For example. The sighs of grieving husbands and widows, male and female, Yong Yong and Yong Yong sympathize with each other. If they worry deeply and think far, it is the legacy of Shun, King Wen, and Confucius; sorrow and anger are the sighs of the solitary Boqi and Qu Yuan’s loyal ministers. It must be deeply moving. But it is pure ancient indifference, no different from the words of the three generations of Yao and Shun, the articles of Confucius, the worries of the Book of Changes, and the grievances of the Poetry. It can listen to it with ears, respond with hands, and take it. When it is in harmony, it is said that it is depressing, and it is written in meditation. When it is touching, there are also those who reach it..." How can the musical expression of the guqin be so rich and touching? There are three reasons for this.

First, the guqin itself has overtones, scattered tones and pressed tones, and the timbres of these three tones are obviously different. When the piano is played, three different timbres appear from time to time, which not only gives people a fresh feeling, but more importantly, increases the musical expression of the melody.

Second, the effective vibrating string length of the guqin is long, about 113 cm, and there is no column under the string. When the qin music is played, chanting, joking, groaning, commenting, teasing, bumping, rolling, brushing, cooperating, ups and downs, etc., the subordinates are free from obstacles and can do whatever they want, so as to achieve the composer's creativity, sorrow, joy, joy, and fullness. manifested.

Third, when the ancients wrote music and notation, they clearly wrote down which fingerings of the left and right hands were used to play each note in the phrase. For example, the "hook" and "tick" of the middle finger, "hook" is a half-meat and half-armor sound, and the timbre will appear moist and solid; "tick" is a pure armor sound, and the timbre will appear clear and bright. The composer can choose from hundreds of fingerings that are extremely rich in Guqin, and use it to express the emotional content that the song wants to express. The story of Boya and Ziqi is a good example. It is not difficult for the confidant to hear the words "too tall, aiming at high mountains; splendid, aiming at flowing water".