📚 Year 13 AQA Music: Terminology Memorisation Guide | AQA音乐术语速记指南
In Year 13 AQA Music, a strong command of musical terminology is crucial for success across the listening paper, essay writing, and performance discussions. This guide categorises essential terms, provides concise definitions, and shares memory tricks to help you internalise them efficiently for the exam.
在 AQA Year 13 音乐课程中，牢固掌握音乐术语对于听力测试、论文写作和演奏讨论至关重要。本指南将核心术语分类讲解，给出简洁定义，并分享记忆技巧，帮助你高效内化这些概念，迎接考试。
1. Melody & Ornamentation | 旋律与装饰音
Melody describes the horizontal aspect of music. Key terms include conjunct (stepwise) and disjunct (angular). Ornamentation adds decorative notes to a melody, such as trills, turns, mordents, and appoggiaturas.
旋律描述音乐的横向线条。核心术语有级进 (conjunct，音阶式进行) 和跳进 (disjunct，大跳)。装饰音为旋律添加华彩，如颤音、回音、波音和倚音。
Conjunct motion moves mainly by step; disjunct motion features leaps. Think 'conjunct = connected, disjunct = disconnected leaps'.
级进 (conjunct) 以级进为主；跳进 (disjunct) 包含跳进。联想记忆：conjunct 像连接平稳，disjunct 则是不连贯的跳跃。
ten note and the note above, usually starting on the upper note in Baroque music. Remember 'trill = trembling repetition'.
颤音 (trill) 是在标记音和上方相邻音之间快速交替，巴洛克时期通常从上方音开始。记作：trill = 颤动的重复。
A turn is a four-note ornament: upper note, main note, lower note, main note. Visualise 'turning around the note'.
回音 (turn) 是四个音组成的装饰音：上邻音、本音、下邻音、本音。想象“围绕音符转圈”。
An appoggiatura is a non-chord note that leans on the following chord note, taking half its value. The name literally means 'leaning note'.
倚音 (appoggiatura) 是不协和音倚靠到和弦音，占用后续音符的一半时值。其意大利语义为“倚靠”。
An acciaccatura is a crushed note, played very quickly before the main note. It sounds like a tiny stumble before the melody note.
短倚音 (acciaccatura) 是挤入的短音符，在主音前瞬间奏出，听上去像旋律前的轻快磕绊。
e below (lower mordent) or above (upper mordent) and then back to the main note. Visualise 'mordent = a mini-bite on the note'.
波音 (mordent) 是主音与下方音（下波音）或上方音（上波音）快速交替后返回主音。可想象成在音符上“轻咬一口”。
A passing note connects two chord tones by step; an auxiliary note moves away from a chord tone and returns. Remember 'passing passes between, auxiliary hangs around'.
经过音 (passing note) 以级进连接两个和弦音；辅助音 (auxiliary note) 离开和弦音再返回。记忆：passing 是穿过，auxiliary 是在周围逗留。
A melodic sequence repeats a phrase at a higher or lower pitch. Think 'sequence = second, third, fourth statement'.
模进 (sequence) 是将一个乐句在更高或更低音高上重复。联想：一连串的延续。
2. Harmony & Cadences | 和声与终止式
Harmony is the vertical stacking of notes to form chords. A cadence is a two-chord progression that punctuates a phrase. The four main cadences: perfect (V–I), plagal (IV–I), imperfect (I–V or etc. ending on V), and interrupted (V–vi).
和声是音符的纵向叠置形成和弦。终止式 (cadence) 是两个和弦构成的乐句标点。四种主要终止式：正格终止 (V–I)、变格终止 (IV–I)、半终止 (结束于V) 和阻碍终止 (V–vi)。
Perfect cadence V–I sounds final, like 'Amen'. Memory: V to I sounds perfectly resolved.
正格终止 V–I 听上去圆满终止，类似“阿门”。记忆: V到I完美解决。
Plagal cadence IV–I is the 'Amen' cadence in hymns. Think 'Plagal = Prayer ending'.
变格终止 IV–I 是赞美诗中的“阿门”终止。联想：Plagal 与 Prayer（祈祷）谐音。
ct cadence ends on V, leaving a sense of expectation. Any cadence ending on V is imperfect – 'imperfect = incomplete'.
半终止 (imperfect cadence) 结束在V和弦，留下期待感。任何停在V的终止式都是半终止——“不完整”。
Interrupted cadence V–vi sounds surprising; the ear expects I but gets vi. Remember: 'Interrupted – expectation interrupted'.
阻碍终止 V–vi 出乎意料；耳朵期待I却得到vi。记忆：“被打断的预期”。
Tierce de Picardie is a major tonic chord at the end of a minor-key piece. The Picardy third brings unexpected brightness.
皮卡迪三度 (Tierce de Picardie) 是小调作品结束时将主和弦换成大三和弦，带来意外明亮色彩。
Dominant seventh (V⁷) is a four-note chord built on the dominant with a minor seventh; it strongly resolves to the tonic. Think 'V⁷ pulls strongly to I'.
属七和弦 (V⁷) 建立在属音上的四音和弦，包含小七度，强烈倾向于解决到主和弦。记忆：V⁷ 强力“拉动”到 I。
A pedal is a sustained note, usually in the bass, over which harmonies change. A tonic pedal grounds the key; a dominant pedal builds tension.
持续音 (pedal) 是和声变化时保持的一个长音，通常在低音部。主持续音稳定调性；属持续音积累张力。
3. Tonality & Modulations | 调性与转调
Tonality refers to the key centre of a piece. Modes like Dorian, Mixolydian are used in
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