📚 GCSE CAIE Music: Quick Reference Handbook of Key Concepts and Formulas | GCSE CAIE 音乐：关键概念与公式速查手册
In CAIE IGCSE Music, a solid grasp of the essential building blocks of theory is vital for listening, performing, and composing. This quick reference handbook gathers the key formulas, rules, and terminology you need to analyse and create music with confidence. From interval naming and chord construction to cadences, tempo marks, ornaments, and structural forms, each section presents concise explanations in both English and Chinese, helping you internalise the concepts faster and apply them accurately in your exam.
在 CAIE IGCSE 音乐考试中，扎实掌握音乐理论的基本构件对听力、演奏和作曲至关重要。这本速查手册汇集了核心公式、规则和术语，帮助你自信地分析与创作音乐。从音程命名、和弦构建到终止式、速度标记、装饰音和曲式结构，每一节都用中英双语提供简明解释，让你更快消化这些概念，并在考试中准确运用。
1. Intervals | 音程
An interval is the pitch distance between two notes, counted by the number of letter names (the interval number) and measured precisely in semitones (half steps). The quality of an interval can be perfect, major, minor, augmented, or diminished. Perfect intervals are 1st (unison), 4th, 5th, and 8ve; they sound stable and have no major/minor variant. Major intervals (2nd, 3rd, 6th, 7th) are found in the major scale. Lowering a major interval by a semitone creates a minor interval; raising a perfect or major interval by a semitone gives an augmented interval; lowering a perfect or minor interval by a semitone gives a diminished interval.
音程是两个音之间的音高距离，按音名数量确定度数，并用半音精确计量。音程性质可分为纯、大、小、增、减。纯音程有一度、四度、五度和八度，听感稳定，无大小之别。大音程（二度、三度、六度、七度）来源于大调音阶。大音程降低半音变为小音程；纯或大音程升高半音成为增音程；纯或小音程降低半音成为减音程。
shed 5th = 6, perfect 5th = 7, minor 6th = 8, major 6th = 9, minor 7th = 10, major 7th = 11, perfect octave = 12. Remember that interval name depends on spelling (enharmonics alter the number, e.g., C to D♯ is an augmented 2nd, not a minor 3rd).
常见半音数参考：小二度 = 1 个半音，大二度 = 2，小三度 = 3，大三度 = 4，纯四度 = 5，增四度/减五度 = 6，纯五度 = 7，小六度 = 8，大六度 = 9，小七度 = 10，大七度 = 11，纯八度 = 12。要注意音程名称取决于记谱方式（等音变化会改变度数，例如 C 到 D♯ 是增二度，而非小三度）。
2. Scale Formulas | 音阶公式
Scales follow fixed patterns of whole tones (W) and semitones (H). The major scale formula is W‑W‑H‑W‑W‑W‑H. Starting on any tonic, applying this pattern gives the correct major scale. The natural minor scale formula is W‑H‑W‑W‑H‑W‑W. The harmonic minor raises the 7th degree by a semitone (creating an augmented 2nd between the 6th and 7th), while the melodic minor raises both the 6th and 7th degrees when ascending, and reverts to the natural minor when descending. The chromatic scale moves entirely by semitones. Pentatonic scales omit certain degrees: major pentatonic uses degrees 1‑2‑3‑5‑6, minor pentatonic uses 1‑♭3‑4‑5‑♭7. Whole‑tone scales consist only of whole tones (6 notes spanning an octave).
音阶遵循固定的全音（W）和半音（H）模式。大调音阶公式为 W‑W‑H‑W‑W‑W‑H。从任一主音出发套用此模式即可得到正确的大调音阶。自然小调公式为 W‑H‑W‑W‑H‑W‑W。和声小调将第Ⅶ级升高半音（在第Ⅵ级和第Ⅶ级之间形成增二度）；旋律小调上行时升高第Ⅵ和第Ⅶ级，下行时还原为自然小调。半音阶完全按半音进行。五声音阶省略某些音级：大调五声音阶用 1‑2‑3‑5‑6 级，小调五声音阶用 1‑♭3‑4‑5‑♭7 级。全音音阶仅由全音组成（一个八度内 6 个音）。
In the CAIE syllabus you must also be familiar with modes: Dorian (W‑H‑W‑W‑W‑H‑W), Phrygian, Lydian, Mixolydian, Aeolian (natural minor), Locrian. Identify them by comparing the pattern to the major scale starting on the same tonic.
CAIE 考纲还要求熟悉各种教会调式：多利亚（W‑H‑W‑W‑W‑H‑W）、弗里几亚、利底亚、混合利底亚、爱奥利亚（自然小调）、洛克里亚。辨别它们时，可将其模式与同主音大调比较。
3. Chord Construction | 和弦构建
A triad is a three‑note chord built by stacking thirds. The formula for a major triad is root + 4 semitones (major 3rd) + 3 semitones (minor 3rd) — giving a perfect 5th (7 semitones from root). A minor triad inverts the order: root + 3 semitones (minor 3rd) + 4 semitones (major 3rd), still a perfect 5th. A diminished triad stacks two minor 3rds (3 + 3 semitones), producing a diminished 5th. An augmented triad stacks two major 3rds (4 + 4 semitones), giving an augmented 5th.
三和弦是由三度叠置而成的三个音。大三和弦公式为：根音 + 4 个半音（大三度）+ 3 个半音（小三度），框内构成纯五度（距根音 7 个半音）。小三和弦顺序相反：根音 + 3 个半音（小三度）+ 4 个半音（大三度），同样包含纯五度。减三和弦由两个小三度（3+3）叠置，形成减五度。增三和弦由两个大三度（4+4）叠置，形成增五度。
or 7th = major triad + major 7th (11 semitones); minor 7th = minor triad + minor 7th; half‑ eral analysis, chords are labelled by scale degree (I, ii, iii, IV, V, vi, vii° in major).
七和弦在三和弦基础上增加一个七度音：属七和弦 = 大三和弦 + 小七度（距根音 10 个半音）；大七和弦 = 大三和弦 + 大七度（11 个半音）；小七和弦 = 小三和弦 + 小七度；半减七和弦 = 减三和弦 + 小七度；减七和弦 = 减三和弦 + 减七度（9 个半音）。用罗马数字标记和弦时，大调中的级数标记为 I、ii、iii、IV、V、vi、vii°。
4. Cadences | 终止式
A cadence is a pair of chords that closes a musical phrase. The four primary cadences are: perfect (V–I), imperfect (I–V, ii–V, IV–V, or any chord ending on V), plagal (IV–I), and interrupted (V–vi, in minor V–VI). Perfect cadences sound final and complete; they are the strongest type. Imperfect cadences sound unfinished, as if a question has been asked. Plagal cadences (the 'Amen' sound) provide a gentle resolution. Interrupted cadences create surprise by avoiding the expected tonic.
终止式是用于结束乐句的一对和弦。四种基本终止式为：正格终止（V–I）、半终止（I–V、ii–V、IV–V 或任何结束在 V 上的进行）、变格终止（IV–I）和阻碍终止（V–vi，在小调中为 V–VI）。正格终止听起来最完满肯定；半终止像是提出问题，意犹未尽；变格终止（“阿门”终止）带来柔和的收束；阻碍终止则通过避开预期的主音而产生意外感。
Always identify the cadence by the chord roots and their roman numerals in the key. In a perfect cadence V(7)–I, the leading note (7th degree) should resolve to the tonic. In a plagal cadence, the subdominant moves to the tonic smoothly.
辨别终止式时，始终依据调性中两个和弦的根音和罗马级数。正格终止 V(7)–I 中，导音（Ⅶ级）应解决到主音。变格终止中，下属和弦平顺地进入主和弦。
5. Time Signatures & Rhythm | 拍号与节奏
nts one beat (2 = minim, 4 = crotchet, 8 = quaver). Simple time signatures have each beat divided into two equal parts (e.g., 2/4, 3/4, 4/4). Compound time signatures have dotted beats divided into three equal parts (e.g., 6/8, 9/8, 12/8), where the top number usually indicates the number of subdivisions. Irregular time signatures have 5, 7, or other unusual numbers of beats (5/4, 7/8).
拍号由两个数字组成。上方数字表示每小节有几拍；下方数字表示以哪种音符为一拍（2 = 二分音符，4 = 四分音符，8 = 八分音符）。单拍子中每一拍可均分为两部分（如 2/4、3/4、4/4）。复拍子以附点音符为一拍，每拍均分为三部分（如 6/8、9/8、12/8），此时上方数字通常代表细分单位数。混合拍子则有 5、7 等不常规的拍数（5/4、7/8）。
Rhythm concepts include syncopation (placing accents on weak beats or between beats), hemiola (a temporary shift from a compound to duple feel, common in Baroque music), and swing (unequal quavers where the first is longer than the second). Dotted rhythms and ties create rhythmic variety; a dot adds half of the original note value.
节奏概念包括切分音（在弱拍或拍间加置重音）、赫米奥拉节奏（暂时从三拍感转为二拍感，常见于巴洛克音乐）以及摇摆节奏（八分音符不均匀，第一个长于第二个）。附点节奏和延音线可制造节奏变化；附点增加原音符时值的一半。
6. Tempo Markings | 速度标记
c. Standard Italian terms from slowest to fastest: Largo (broadly, very slow), Adagio (slow, at ease), Andante (walking pace), Moderato (moderate), Allegro (fast, cheerful), Vivace (lively), Presto (very fast). Additional modifiers include molto (very), meno (less), più (more), and the suffix ‑ ttle fast). Terms for changing tempo: Accelerando (gradually faster), Ritardando / Rallentando (gradually slower), A tempo (return to original speed).
速度标记表示音乐的快慢。常用意大利语术语由慢到快依次为：Largo（宽广、极慢）、Adagio（从容的慢板）、Andante（行板，步行速度）、Moderato（中板）、Allegro（快板，欢快）、Vivace（活泼的）、Presto（急板）。修饰词有 molto（很）、meno（较少）、più（更多），后缀 ‑etto 表示“稍”（如 Allegretto 稍快）。速度变化术语：Accelerando（渐快）、Ritardando / Rallentando（渐慢）、A tempo（恢复原速）。
Metronome marks give precise bpm (beats per minute), e.g., ♩ u to suggest an appropriate Italian term for a given tempo or interpret written tempo indications in score contexts.
节拍器标记提供精确的每分钟拍数（bpm），如 ♩ = 120。CAIE 试题经常要求考生对给定速度给出合适的意大利术语，或在乐谱情境中解释所标速度记号。
7. Dynamics & Articulation | 力度与演奏法
Dynamics describe the volume of sound. Common dynamic markings: pp (pianissimo, very soft), p (piano, soft), mp (mezzo‑piano, moderately soft), mf (mezzo‑forte, moderately loud), f (forte, loud), ff (fortissimo, very loud). Gradual changes: crescendo (cresc.) – gradually louder, diminuendo / decrescendo (dim.) – gradually softer. Sforzando (sfz) is a sudden strong accent on a single note or chord.
力度术语描述声音的强弱。常用力度记号：pp（pianissimo，很弱）、p（piano，弱）、mp（mezzo‑piano，中弱）、mf（mezzo‑forte，中强）、f（forte，强）、ff（fortissimo，很强）。渐变力度：crescendo（cresc.）渐强，diminuendo / decrescendo（dim.）渐弱。Sforzando（sfz）表示对某个单音或和弦突然加重音。
he note; tenuto (held for full value, slightly stressed) by a horizontal line; accent (>) means attack the note with force; marcato (^) is a heavy, marked accent. Articulation shapes character and phrasing significantly.
演奏法标记表示音符如何演奏。连奏（legato，圆滑连贯）用连线表示；断奏（staccato，短促分离）用音符上下的圆点；保持音（tenuto，奏足时值，稍强调）用横线；重音（>）表示有力起奏；特重音（marcato，^）则是更强力的顿音。演奏法对乐句性格和分句塑造至关重要。
8. Ornaments | 装饰音
Ornaments are embellishments added to melody. Key ornaments: trill (tr) – rapid alternation between the written note and the upper diatonic note; turn (𝄐) – the written note, upper auxiliary, written note, lower auxiliary, written note; mordent (upper mordent, 𝆍) – written note, upper auxiliary, written note played quickly; lower mordent (𝆎) – written note, lower auxiliary, written note; appoggiatura – a small grace note that takes half the value of the main note (or two‑thirds if dotted) and leans expressively; acciaccatura – a crushed grace note, played very quickly before the main note, indicated by a small note with a stroke through the stem.
装饰音是加在旋律上的装饰。主要装饰音有：颤音（tr）—— 在本音与上方二度音之间快速交替；回音（𝄐）—— 顺序为本音、上方助音、本音、下方助音、本音；上波音（𝆍）—— 快速演奏本音、上方助音、本音；下波音（𝆎）—— 本音、下方助音、本音；倚音（appoggiatura）—— 小音符，通常占本音时值的一半（附点音符时占三分之二），表情性地倚靠到主音；碎音（acciaccatura）—— 带斜线的小音符，在本音前极快地“挤”出，不占时值。
Perform ornaments according to the style period. Baroque trills typically start on the upper note; later styles often start on the main note. CAIE listening papers may require you to identify ornaments by ear or by sight in a score.
演奏装饰音要依据风格时期。巴洛克时期的颤音通常从上助音开始；后来的风格多从本音开始。CAIE 听力考试可能要求你凭听觉或在乐谱中辨认这些装饰音。
9. Musical Forms | 曲式结构
Binary form (AB) consists of two contrasting sections, each usually repeated. Ternary form (ABA) has a return of the initial section after contrasting B material. Rondo form alternates a recurring A theme with contrasting episodes (ABACA, ABACABA). Theme and variations presents a theme followed by a series of varied versions (A, A₁, A₂, A₃…), changing elements like melody, rhythm, harmony, texture, or tonality. Sonata form (used in first movements of Classical works) has an exposition (two contrasting themes in different keys), development (themes fragmented and modulations), and recapitulation (both themes now in the tonic key). Strophic form repeats the same music for each stanza (typical of hymns and folk songs), while through‑composed has no repetition of entire sections, continuously developing new material.
二部曲式（AB）包含两个对比乐段，通常各自反复。三部曲式（ABA）在对比的 B 段后返回最初的 A 段。回旋曲式轮番出现主部 A 与不同的插部（ABACA、ABACABA）。主题与变奏是先呈示主题，随后呈一系列变化版本（A, A₁, A₂, A₃…），可在旋律、节奏、和声、织体或调性上变化。奏鸣曲式（用于古典时期第一乐章）包含呈示部（两个对比主题出现在不同调性上）、展开部（主题碎片化并频繁转调）和再现部（两个主题都在主调上）。分节歌形式为多段歌词配同一旋律（常见于赞美诗和民歌）；通体歌则没有整体段落的重复，不断展开新材料。
In the exam, you may be asked to describe the form of a given extract or sketch a structural diagram. Always listen for repetition, contrast, and return to determine the form.
考试中可能会要求你描述所给选段的曲式，或画出结构示意图。务必注意聆听重复、对比与回归来判定曲式。
10. Textures | 织体类型
Monophonic texture is a single unaccompanied melodic line; homophonic texture features a dominant melody supported by chordal accompaniment (melody and accompaniment); polyphonic / contrapuntal texture consists of two or more independent melodic lines woven together (e.g., canon, fugue). Other textures include heterophony (simultaneous variations of the same melody, common in folk and non‑Western traditions), antiphonal texture (alternating groups of performers, creating a call‑and‑response effect), and drone (a sustained or repeated note, usually tonic/dominant, beneath a melody). Imitative texture occurs when a melodic idea is echoed or copied in another voice or instrument.
单音织体是一条无伴奏的独立旋律线；主调织体以一条主旋律配以和弦式伴奏（旋律加伴奏）；复调 / 对位织体由两条或以上相对独立的旋律线交织而成（如卡农、赋格）。其他织体包括支声复调（同时演奏同一旋律的不同变体，常见于民间和非西方音乐）、应答织体（两组表演者交替，形成呼应效果），以及持续音织体（在旋律下方持续或重复一个音，通常是主音或属音）。模仿织体是指旋律动机在另一声部或乐器上被回声或模仿。
Always link texture to the genre and period. For instance, Baroque fugues are polyphonic; Classical accompaniments are often homophonic with Alberti bass; Renaissance motets are polyphonic; many pop songs are homophonic.
一定要将织体与体裁和时期联系起来。例如巴洛克赋格是复调织体；古典时期伴奏常为主调织体并带有阿尔贝蒂低音；文艺复兴经文曲为复调织体；许多流行歌曲是主调织体。
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