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在清代康乾盛世时期，古琴音乐的中心逐渐向江南的淮扬地区转移。众多文人墨客纷纷汇聚广陵，使得琴坛名家云集，人才辈出。一个新的琴派——“广陵派”应运而生，成为清代中期以后影响最为广泛的琴派之一，其琴乐的传承一直延续至今。
广陵派以清初扬州琴家徐常遇为开山鼻祖，他编有《澄鉴堂琴谱》。其后，扬州著名的琴家徐祺、徐俊父子，编著了《五知斋琴谱》，这是近300年来在琴坛流传最广的一本琴谱。此谱以虞山派之清淡和雅为基础，继而融入吴派的婉转含蓄，金陵派的抑扬顿挫，蜀派之刚劲豪迈，中州派之高古端严，并最终形成跌宕细腻、恬逸洒脱的风格，为古琴音乐的继承与发展提供了一个很好的范例。
清代中期以后，出现了琴派纷呈的局面。其中著名的有诸城派、闽派、川派、岭南派等等。同时随着印刷技术的日益精湛，清代刊印琴谱之风也十分盛行。各琴派均有自己不同的传谱。其中较著名的除了《澄鉴堂琴谱》（1686年，徐常遇编）、《五知斋琴谱》（1772年，徐祺编）外，还有《自远堂琴谱》（1802年，吴灴编）、《蕉庵琴谱》（1868年，秦维翰编）等等，而其中所记录的琴曲，是一笔巨大的音乐财富。
古琴作为一种文人音乐，它的发展必然受到各个时代士大夫观念和审美的影响。唐和唐以前的琴曲，多右手繁声，讲究的是如《广陵散》、《离骚》等琴曲中体现的气势、力度和节奏。明清时期，由于受昆曲及其它戏曲音乐的影响，古琴的演奏技术也有了重要的变化。尤其是左手技法更趋细腻、生动。如《五知斋琴谱》中的《潇湘水云》、《胡笳十八拍》等琴曲，其左手吟猱绰注的运用已相当丰富。
During the Kangxi and Qianlong reigns of the Qing Dynasty, the center of guqin music gradually shifted to the Huaiyang region in the Jiangnan area. Many literati and scholars gathered in Guangling, making the qin community a gathering place for famous players and talents. A new qin school, the "Guangling School," emerged and became one of the most influential schools after the mid-Qing Dynasty, with its qin music tradition continuing to this day.
The Guangling School was founded by Xu Changyu, a qin player from Yangzhou in the early Qing Dynasty, who compiled the "Chengjian Hall Qin Score." Later, the famous Yangzhou qin players Xu Qi and his son Xu Jun compiled the "Wuzhi Studio Qin Score," which has been the most widely circulated qin score in the qin community for nearly 300 years. This score, based on the light and elegant style of the Yushan School, integrated the gentle and implicit style of the Wu School, the undulating and rhythmic style of the Jinling School, the vigorous and bold style of the Shu School, and the ancient and dignified style of the Zhongzhou School, eventually forming a style that is undulating, delicate, and carefree, providing a good example for the inheritance and development of guqin music.
After the mid-Qing Dynasty, a situation of diverse qin schools emerged. Among them, the famous ones include the Zhucheng School, the Min School, the Sichuan School, the Lingnan School, etc. At the same time, with the increasing refinement of printing technology, the trend of printing qin scores in the Qing Dynasty was also very popular. Each qin school had its own different transmitted scores. In addition to the "Chengjian Hall Qin Score" (1686, compiled by Xu Changyu) and the "Wuzhi Studio Qin Score" (1772, compiled by Xu Qi), there were also the "Ziyuan Hall Qin Score" (1802, compiled by Wu Zhi) and the "Jia'an Qin Score" (1868, compiled by Qin Weihan), etc., and the qin pieces recorded in them are a huge musical treasure.
As a literati music, the development of guqin is inevitably influenced by the concepts and aesthetics of the scholar-officials of various eras. The qin pieces before and during the Tang Dynasty mostly have complex right-hand sounds, emphasizing the momentum, strength, and rhythm reflected in qin pieces such as "Guangling San" and "Li Sao." In the Ming and Qing Dynasties, due to the influence of Kunqu and other opera music, the playing techniques of guqin also underwent important changes. Especially the left-hand techniques became more delicate and vivid. For example, in the qin pieces "Xiaoxiang Shuiyun" and "Hu Jia Shi Ba Pai" in the "Wuzhi Studio Qin Score," the use of left-hand techniques such as yin, nao, chuo, and zhu has become quite rich.
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