One of the typical characteristics of Chinese piano music in 1970’s was a modification of the music previously composed. This trend of the modification of the existing music can be said ‘a product of time’ due to the influence of the Cultural Revolution, composers of this period made a greatereffort to create and reform existing music rather than create completely new music. Maehwasamnong is one of the popular modified Chinese piano musics, produced by Geonjoong Wang. Maehwasamnong was originally composed for Geum, the Chinese traditional stringed instrument, however, Geonjoong Wang employed diverse methodologies to include enriched sound effects on Maehwasamnong in modifyingpiano music. In particular, methodologies, he used, were provided as followings: First, the sound effects of Geum were mimicked through diverse methodologies. Sound effects of Geum were classified as three, such as ‘San sound’, ‘Beom sound’, and ‘An sound’. The sound effect of ‘San sound’ is low and peaceful, representing wide ground. Its lingering sound is long with high sonority. Second, the sound effect of ‘Beum sound’ is clear with elasticity. Lastly, the sound effect of ‘An sound’ is sincere, representing the level of intensity and tension greatly. Introduction part of Maehwasamnong, mimicked ‘San sound’. Also, 3 times of themes in previous part mimicked.‘Beum sound’. In other part, ‘An sound’ were mainly mimicked. Second, a multi-layered structure was employed to express enriched sound effects rather than simple melody. For example, music was divided into 4 layered structures to achieve enriched sound effects in the section 2, where theme was introduced first. In this section, melody and middle sound section were played with right hand; background chord, quintharmony, or quartal harmonies were played with left hand. This methodology represents three-dimensional features of piano music. Third, Gung tone, a type of fundamental tone, were frequently transitioned through using a number of modulations. As means of modulation, common sounds were primarily used, with which composers made use of modulations 4 times in the section 7, 8, and 9 to bring freshness. Forth, decorative sound types were frequently used, where diverse sound types were employed to bring decorative effect on Geum music melody. Tredecaplets, for example, were used in section 5 and arpeggio sound types were used in section 6. To summarize this study, Geonjoong Wang’s Maehwasamnong was of great importance to understand both traditional and modern music of China; it was revised as piano music confirming the Geum tune of Maehwasamnong, a traditional music of China. This study provides in-depth features of modern piano music in terms of its history, impact, and change from the point of view of Chinese traditional music.