古琴记谱自《大还阁琴谱》(1673)开始全面使用徽分,陈应时教授认为这“标志着古琴音乐全面进入三分损益律的历史时期”。但是,《大还阁琴谱》内很多按音徽位都不属三分损益律,不可以全部理解为记录或计算错误。据本文分析,《大还阁琴谱》在同一乐曲内混合使用不同律制,包括纯律和民间音律,显示编者不拘泥于正统音律的规限,也不固守雅俗的分野。由其前后的琴谱可知,这“多元”做法并非《大还阁琴谱》首创,也传承到后期。《大还阁琴谱》虽是记谱法的转折点,但并不标志古琴律制的重大转变。至20世纪,三分损益律才成为古琴律制的主流。 Guqin notation from the “Grand also notes” (1673) began to fully use the emblem, Professor Chen Yingshi think this “marks the Guqin music fully into the history of the third quarter ”. However, many of the notes on the Grand Court also do not belong to the third-point law of profit and loss, which can not be entirely understood as a record or calculation error. According to the analysis of this article, Grand Court also mixes different disciplines within the same music, including pure and folk temperament, showing that editors are not rigidly bound by the orthodox temperament nor do they stick to the distinction between elegance and vulgarity. It can be seen from the front and back of the sheet music, this “plural ” approach is not “Grand also played the piano sheet” first, but also inherited to the late. Although the Grand Court of Genres is a turning point in notarization, it does not mark a major change in the guqin system. By the 20th century, the one-third loss and gain law became the mainstream of the guqin system.