The internationally active Chinese composer, Qin Wenchen, inspired by water and composed his pipa solo piece Pipa Words, constructing treacherous and changing acoustic space, which also gives rise to the motive of this paper, through quantities of harmonics, string-varied techniques of left hand and complicated techniques of right hand. The purpose of this paper is to probe into the acoustic space organized by the composer and the researcher’s study on the timber variations of one note for many years, and try to figure out a most balanced interpretation and multiple possibilities of technical expression.

This paper adopted musical analysis, interview and interpretation, and probed into Qin Wenchen’s composing idea, musical view and philosophy from many dimensions through data compilation, arrangement and analysis. Based on the former researches, it analyzed the music structure, arrangement of each motive of Pipa Words in depth, and further discussed the relationship between the application of techniques of both hands and music to support performers while doing interpretation.

The research result showed that the acoustic space constructed by Qin Wenchen in Pipa Words and timber-related study concerned by the researcher are two sides to one coin. Under the acoustic frame set by Qin, the point is how to select the corresponding timber variation and set idea of interpretation to make the musical content and performing techniques complement each other. This paper is also expected to provide future researchers towards Qin Wenchen’s compositions with a reference.