在中國傳統音樂裡面，獨奏樂器可以產生豐富的音色變化，有關古箏的研究亦經常論及種種音色的使用，且大多聚焦在各個傳統流派與現代箏曲所運用的演奏技法，至於不同彈絃位置所產生的音色差異，則尚未有深入的分析。在本文中，筆者試圖藉由頻譜分析與問卷調查，來探討右手彈絃位置所產生的音色差異，以及演奏者對不同彈絃位置的認知與運用。初步研究結果顯示，古箏上距離岳山為絃長1/8與1/7的彈絃位置，皆能產生理想的音色；彈奏絃的中點（雁柱和岳山的中點）所產生空靈的音色，是因為奇數倍泛音比偶數倍泛音更強。樂曲分析亦顯示，演奏者藉由改變彈絃位置所產生的多樣音色，可以表達各種音樂意境。

In traditional Chinese music, a solo instrument can produce various timbres. Previous investigations on the performance practice of the guzheng have revealed an intense interest of timbre, focusing on the uses of different timbres and the performing techniques in traditional and modern works. Among these techniques, analyses of plucking positions on the guzheng strings and their corresponding timbral changes have been scant. The aim of the present paper is to explore the timbres and musical uses of different plucking positions by means of spectral analysis and further inquiry. Preliminary results suggest that plucking a string at the seventh or the eighth of its length can produce the ideal timbral result. On the other hand, plucking a string at its midpoint usually produces a hollow sound quality, which is due to the predominance of odd-numbered harmonics. Music analysis suggests that guzheng players occasionally change their plucking position to achieve a variety of effects and expressions.