Master Wu is a loyal elder who has a profound knowledge of China traditional culture. Like many intellectuals in the past, he seems to pay more attention to Tao and Qi, artistic conception, interest and charm when playing the piano. His performance can be said to be the pure flame of melting the beautiful scenery of the countryside with its bright festival and high style, and the qigong of poetry and calligraphy. It is also the crystallization of his artistic accomplishment accumulated to near saturation point and sublimated under the trigger of objective environment. As is known to all, Cai Yong, a master of Qin studies in Han Dynasty, once "escaped from the rivers and seas, and traveled far away from Wu Hui" to preach Qin in Wu for more than ten years. Gu Yong, the Prime Minister of Wu, was one of his disciples. The famous "Jiao Weiqin" is a story that happened in Wuzhong at that time. If we can trace it back to the Spring and Autumn Period, Confucius' 72 sages' words in South China had long been "popular" in Wu, using Qin instead of language to teach the people. Today, there are still relics such as Yanzi Tomb in Changshu, Suzhou. From the perspective of dialect phonology, the scope of Wu language family in history is not limited to Suzhou today, but generally in the Taihu Lake basin, covering four provinces and cities of Jiangsu, Zhejiang, Anhui and Shanghai today. Wu Sheng is closely related to Wu dialect. Taihu water town has nurtured the language and songs of the local people, with the characteristics of softness and gentleness. Nature also profoundly influenced the style of Wu Pai Guqin. Zhao Yili, a master of Qin studies in the early Tang Dynasty, compared and summarized the Qin styles of Wu and Shu schools, saying, "Wu's voice is quiet and graceful, and if the Yangtze River flows widely, it will have the style of a national scholar." Leave behind eternal famous sayings.

Since the Tang Dynasty, there have been many talented people in Wu Pai, and there have been many masters of piano learning. In the Song and Yuan Dynasties, there were Zhu Changwen from Gusu, Chuwang Guo, Mao Minzhong and Wang Yuanliang from Zhejiang, and in the Ming Dynasty, there were Xu Hezhong from Siming, Liu Hong from Songjiang, Zhang Yongqi from Gusu, Chen Aitong from Loudong, Qingshan Xu and Yan Tianchi from Changshu. In terms of genre, Wu Pai will have differentiation, evolution, and sometimes return. For example, Zhejiang School appeared in the Southern Song Dynasty (not limited to Zhejiang), and Jiang Cao (Songjiang School) and Zhejiang Cao appeared in the Ming Dynasty, all of which can be regarded as the variation branch of Wu Pai in the Pan-Taihu Basin at that time. In particular, Xumen, a Zhejiang opera, has a comfortable and elegant piano style, which embodies Wu Pai's piano, and has a certain origin with the Yushan School, which rose later. Xu Xiaoshan, the grandson of Xu Tianmin, a Zhejiang school, once taught in Changshu, which has far-reaching influence. In the late Ming Dynasty, Yan Tianchi raised his voice to resist the unhealthy trend in the piano world, founded the Yushan School, and pushed Wu Pai's piano study to a new stage. Jiang Wenxun, a violinist in Wuzhong in Qing Dynasty, commented: "Wu Pai was divided into two parts, namely, Yushan and Guangling." These two veins are full of talented people and have a wide range of piano scores. Jiang further commented: In the Qing Dynasty, the atmosphere of praising Wu Pai in the piano circle has not diminished, and many of them lived in Wu Pai, although today Shu people also live in Wu Pai. From the late Qing Dynasty to the 193s, the Shu School (that is, the Yushan School) became more popular. We can see this grand occasion from the Qin people's inquiry record in the Qin magazine of Today's Danger. At that time, it was not only Wu Diqin who was mostly familiar, but also some famous Hunan and Sichuan scholars "sent a plan to make Yushan Mountain". The purpose of today's Yuqin Society is to call for the reopening of Yushan Qinfeng. As mentioned above, Wu Pai is not only the pioneer of Yushan School, but also the successor of Wu Pai. Or as Chiang said, Yushan was a branch of Wu Pai in Ming and Qing Dynasties. Nowadays, it is understandable that people who are good at playing the piano in rural areas only know Yushan and don't smell Wu Sheng. The problem is that some famous artists only talk about Yushan and keep silent about Wu Pai. If this cuts off the misleading spread of history, what is the benefit of Guqin's heritage?

The Guangling School, which rose in the middle of Qing Dynasty, is another branch of Wu Pai according to what Chiang said. Generally speaking, Qin Jie said: Guangling originated from Yushan, and then derived from Zhucheng to regenerate Mei 'an. Either way, it can be considered that Guangling School is a branch of Wu Pai's evolution in the Qing Dynasty, and it is a school of its own. In modern times, Wu Pai evolved and derived the Wushi and Wumenqin schools in Yushan. As we all know, Wu Jinglue and Wu Zhaoji, the masters of guqin, are the representatives of these two schools respectively. As early as the early days of this crisis, Wu Lansun and Wu Jinyang, two elder masters, inherited Wu Pai and Shu School, and at the same time, they gradually developed the style of Wu Men Qin. In the hands of master Wu Zhaoji, it was further developed, and the musicians at home and abroad were called "Wumen Qinyun".

Looking at Wu Pai from the genealogy of Qin theory, there was Cai Yong's Qin Cao in the Eastern Han Dynasty, which has been lost for a long time. Today, there are Zhu Changwen's Qin Shi in the Song Dynasty, Wang Zhi's Xi Lu Tang Qin Tong, Yan's Song Xian Guan Qin Pu, Xu's Da Huan Ge Qin Pu and Xi Shan Qin Kuang, and so on. In the Qing Dynasty, there were music score of Lexian by Wang Shanwu, music score of Chengjiantang by Xu Changyu, music score of Deyintang by Wang Jianxin, music score of Wuzhizhai by Xu Dasheng and music score of Chuncaotang by Su Qinshan. Rather than saying that all these musical scores can be attributed to Wu Pai, it is more appropriate to say that most of the editors of these musical scores and their musical discourses advocate Wu Pai.