中国古代围绕七弦琴而创立的纯律理论,是建立在倍音列这一自然科学基础之上。虽则七弦琴正调散音只生纯律五声音阶的五律,但由于七弦琴依照倍音列原理设定了十三个徽位,使其散音、徽位按音和徽位泛音合在一起,构成了纯律的十六律。足以演奏纯律五声音阶之外加变宫、变徵或加变宫、清角的其它纯律音阶。笔者根据查阜西先生的七弦琴调弦法,于琴上调出带有半音的纯律五声音阶,并演奏日本民歌《樱花》、《会津磐梯山》等,声音颇显流美,风格特征鲜明。因此,重视纯律在古琴上的应用,有利于保护和发展古琴这一世界文化艺术遗产,更有利于推进华夏音乐的新发展。 The ancient theory of pure law, which was founded around the lyre in ancient China, is based on the natural science of the overtone. Although the lyre is the only tone of the five-tone pure five-tone law, but as the lyre in accordance with the principle of overtones set thirteen emblem, so that the sound of the emblem, the emblem of the press and emblem overtones together, constitute The law of the sixteen law. Enough to play a pure law of the five scales in addition to change the palace, change or change the palace, clear angle of the other pure scales. According to Mr. Cha Fu Xi lyre tuning method, raised in the piano with a chromatic pure five-tone scale, and playing Japanese folk songs “Sakura”, “Ajinomoto Band Hill”, the sound is quite flowery, style characteristics Clear. Therefore, paying attention to the application of pure law on Guqin helps to protect and develop Guqin, a world cultural and artistic heritage, and is more conducive to promoting the new development of Chinese music.