古筝触弦的方法，是音色的命脉。
The method of touching the string of guzheng is the lifeblood of timbre.
同样的琴，不同的人弹奏，听起来音色不一，不用看，肯定是触弦的方法出了问题。
The same piano, played by different people, sounds different in timbre. Needless to see, there must be something wrong with the method of touching the string.
在古筝演奏中，恰当的触弦方式是正确表现乐曲音色的关键。在原曲的基础上，演奏者的二度创作中，要根据作品的内容、情绪、风格等需要，理性地设计不同的触弦方式，以求获得不同的音色来表现作品的内涵与意境。
In the performance of guzheng, the proper way of touching the string is the key to correctly express the timbre of the music. On the basis of the original music, the performer should rationally design different ways of touching strings according to the needs of the content, emotion and style of the work, so as to obtain different timbre to express the connotation and artistic conception of the work.
义甲触弦深浅变化对音色的影响：
The influence of the depth change of Yijia touch string on the timbre:
1、基本触弦点是甲尖至胶布的三分之一处，音色柔和、饱满。
1. The basic touch point is from the nail tip to one third of the adhesive tape, and the tone is soft and full.
2、触弦较深，义甲与琴弦接触的面积大，音色较为深沉、厚重。
2. The touch string is deep, the area between the Yijia and the string is large, and the timbre is deep and thick.
3、触弦较浅，义甲与琴弦接触面积小，音色轻快，颗粒性强，适用于快速轻盈的快板。
3. The touch string is shallow, the contact area between the Yijia and the string is small, the timbre is light, and the granularity is strong. It is suitable for fast and light allegro.