The existing "Guangling San" has a deep, rough and simple tone, and is grand in spirit. It was a very outstanding piece of music at that time and one of the longest guqin pieces.

The whole song has forty-five sections, divided into three parts.

The first part includes the opening paragraph, three paragraphs of the minor preface, and five paragraphs of the major preface. This part begins with powerful overtones and narrative tones, expressing Nie Zheng's unfortunate fate and the monarch's cruelty and immorality.

The second part includes eighteen sections of the main voice, which is the main part of the music. It focuses on Nie Zheng's emotional development process from resentment to indignation, and profoundly depicts his persistence in not fearing rape and preferring death to avenge his father. This part starts from "The eighth part of the song", first using portamento in the bass area, sometimes loosening and sometimes tightening, and ups and downs rhythm, to express a depressed and angry mood. Then, gradually accumulate strength, until "Chongguan Ninth" and "Changhong Tenth", finally like a sleeping volcano, bursting out fiery magma - with the strongest plucking technique of the guqin, the first and second strings play in unison. Make an impassioned tone. "Huiguang No. 16" uses the strong contrast between the high and low ranges of overtones and scattered overtones, the rapid repetition of homophonic sounds, and the gradual tightening of the rhythm to show a heroic spirit that regards death as home. The "Eighteenth Sword Throwing" uses the brushing technique to give people a thrilling feeling like breaking bamboo and tearing silk.

The third part includes eight subsequent paragraphs, which express the praise and praise of Nie Zheng's heroic deeds.

The whole song runs through the intertwined ups and downs and development of the two themes. One is the "main tone of the main tone" found in the second paragraph of the "Zhengsheng", and the other is the "main tone of the chaotic tone" that first appears at the end of the main sequence. The main tone of the main tone is mostly used at the beginning of the section, highlighting its leading role; the main tone of the random tone is mostly used at the end of the section, which makes various changed tunes come down to the same tone, which has the characteristics of It plays the role of marking paragraphs and unifying the whole song.

Looking at the whole song, it is "brilliant, full of swords and spears", indignant and unyielding, majestic, unique in style, huge in structure, and awe-inspiring throughout.

The mystery of "Guangling San" has not been lost. There is such a legend: Ji Kang had a nephew named Yuan Xiao who also liked to play the piano and asked Ji Kang to learn this piece of music many times but failed. But he did not give up: every night, when his uncle played the piano, he stood outside the window and eavesdropped, and wrote down the score and various fingerings of "Guangling San"...

Ji Kang divided it into playing In addition to being famous for "Guangling San", it also made special contributions to music theory, namely his "Qin Fu" and "Soundless Sad Music Theory". "Qin Fu" mainly expresses Ji Kang's understanding of Qin and music, and also reflects Ji Kang's views that are inconsistent with traditional Confucian thought. "On Soundless Sad Music" is the author's direct and concentrated criticism of the Confucian thought of "music governing the world", which includes Ji Kang's unique views on music.

The ancients once had completely opposite evaluations of the song "Guangling San": Zhu Xi criticized "the song is the most unpeaceful and has the meaning of a minister tyrannizing the king." Song Lian of the Ming Dynasty also commented in "Taikou Yiyin·Postscript": "His voice is angry and impatient, and cannot be used as a lesson." However, the evaluation of "Qinyuan Yaolu·Zhixi Preface" is quite different - the feeling of admiration leaps from the pen: Where there is a "feeling of resentment and sadness", the tune is clear and crisp; where there is "a sense of sadness and generosity", there is also the momentum of "thunder, wind and rain" and "thunder and spear".