法國普通律

「法國普通律」（法語：Tempérament Ordinaire，意思是「普通的音律」或「常見的音律」）是一個音律學術語，特指一種鍵盤樂器調音方式。這種調律的方法主要在17~18世紀關於鍵盤樂器音準的理論和實踐的法語著作中介紹，在現在的一些古典音樂演奏中仍有使用。

17世紀

一個早期的歷史文獻中，這個名稱由克里斯蒂安·惠更斯使用在1691年《有關諧波周期的文件》中。這裏數次以比較的方法說明「普通律」。惠更斯信的主要目的是描述和討論的一個非常規的「八度的31等分」。他是這樣做的：首先綜述常規已知的音律，然後他介紹了他的新方案（實際上之前大約已經有類似設想）；他討論了它們之間的差異。惠更斯對傳統音律的描述是非常精確的，它是明確的（1/4音差）中庸全音律。 （需要一些小的計算看到匹配的對應關係，on the one hand, the figures in the right hand column of Huygens' table of 1691, which is headed 'Division of the octave following the temperament ordinaire', and on the other hand, the interval-values in the quarter-comma mean-tone scale. Huygens' figures are in base-10 logarithms, but in the inverse sense, and offset by 5: they range from 5 at the lower C, to (5-log10(2)) at the C an octave above. If H is Huygens' number for any note, then in modern terms, the number of cents in the interval that it makes with the lower C is ( 1200 / log10(2) ) * (5-H), and its frequency-ratio with the lower C is antilog10( 5-H ). Thus Huygens' value for G natural, 4.8252574989, corresponds to ~696.578... cents, and to a ratio of 1.495348...; and so on.)

Huygens referred to this conventional arrangement, variously, in the course of his comparisons, as "the Temperament that I have just explained", "the Temperament", "the ordinary Temperament" (temperament ordinaire), "the Ordinary Temperament" (with both words capitalized), and then by mentioning "the new Temperament" as contrasted with "the one that everyone uses".

Accordingly, it does appear that for Huygens in 1691, "temperament ordinaire" was a phrase denoting just the temperament in ordinary use, with no sign that he was using this expression as a proper or conventional name or label; and it also appears that for him, the one in ordinary use was (quarter-comma) meantone temperament.

調律

「第一，從鍵盤中間的C開始。前4個五度略窄，直到E，使C與E為純律大三度（相當於四分之一音差中全律）；這被稱為「the proof」。

「第二，繼續向上調整五度，直到升音符，然後擴大五度（即使大三度受到影響），直到G#。

「第三，從C下調五度，如F，Bb等等，每個五度都要拓寬，直到降D。其中當C#與G#為純五度。最後的五度會太寬，三度也是。但如果調諧在嚴酷度是正確的，是可以容忍的，此外，這些五分之三是位置，他們很少使用。」