📚 Year 7 AQA Music: Quick Reference to Formulae and Theorems | Year 7 AQA 音乐：公式定理速查手册
Music is built upon a set of fundamental principles that work much like mathematical formulae or scientific laws. Understanding these rules – from note value ratios to scale patterns and interval counting – gives you the power to read, perform, and even create music with confidence. This quick reference handbook brings together all the essential 'formulae and theorems' you need for Year 7 AQA Music, making revision fast and efficient.
音乐是建立在一系列基本原理之上的，它们的作用就像数学公式或科学定律。理解这些规则——从音符时值的比例到音阶模式，再到音程计算——将赋予你自信地阅读、演奏甚至创作音乐的能力。这本速查手册为你汇集了 Year 7 AQA 音乐所需的所有核心“公式与定理”，让复习快速而高效。
1. Note and Rest Values: The Duration Equation | 音符与休止符时值公式
Every note has a fixed proportional relationship with other notes. In standard notation, the semibreve (whole note) is the fundamental unit, and all other notes are derived by dividing it.
每个音符与其他音符都有着固定的比例关系。在标准记谱法中，全音符是基本单位，所有其他音符都是通过不断分割全音符而得到的。
The core formula is: 1 semibreve = 2 minims = 4 crotchets = 8 quavers = 16 semiquavers. Adding a dot increases a note's duration by half of its original value: dotted note = note + (note / 2).
核心公式为：1 个全音符 = 2 个二分音符 = 4 个四分音符 = 8 个八分音符 = 16 个十六分音符。加上附点则会将音符的时值延长其自身时值的一半：附点音符 = 音符 + (音符 / 2)。
Rests follow exactly the same fractional logic. A semibreve rest hangs from the line, a minim rest sits on the line, and smaller rests have distinctive hooks. The equation: 1 semibreve rest = 2 minim rests = 4 crotchet rests = 8 quaver rests.
休止符遵循完全相同的分割逻辑。全休止符吊在谱线上，二分休止符坐在谱线上，更短的休止符则有独特的钩子。对应的等式为：1 个全休止 = 2 个二分休止 = 4 个四分休止 = 8 个八分休止。
2. Time Signatures: The Beat Organisation Law | 拍号与节奏组织法则
A time signature looks like a fraction. The top number tells you how many beats are in each bar; the bottom number tells you what kind of note counts as one beat – 4 stands for a crotchet, 8 for a quaver, 2 for a minim.
拍号看起来像一个分数。上方数字告诉你每小节有多少拍；下方数字告诉你以何种音符为一拍——4 代表四分音符，8 代表八分音符，2 代表二分音符。
Simple time signatures (2/4, 3/4, 4/4) divide each beat into two equal parts. Compound time signatures (6/8, 9/8, 12/8) divide each beat into three equal parts. The formula to recognise a compound time signature: top number is a multiple of 3 (6, 9, 12) and the beat is a dotted note.
单拍子（2/4、3/4、4/4）把每一拍平分为两部分。复拍子（6/8、9/8、12/8）则把每一拍平分为三部分。识别复拍子的公式是：上方数字是 3 的倍数（6、9、12），且单位拍是一个附点音符。
In 4/4, beats are strong-weak-medium-weak. In 3/4, the pattern is strong-weak-weak. This accent pattern is a rhythmic theorem applied almost universally in Western tonal music.
在 4/4 拍中，强弱规律是强-弱-次强-弱。在 3/4 拍中，规律是强-弱-弱。这种重音模式是几乎适用于所有西方调性音乐的节奏定理。
3. Major Scale Formula: The Step Pattern | 大调音阶构成公式
Every major scale is built using the exact same interval formula. Remember this sequence as a musical theorem: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone.
每一个大调音阶都是用完全相同的音程公式构建的。请将以下序列当作一条音乐定理来记忆：全音 – 全音 – 半音 – 全音 – 全音 – 全音 – 半音。
Start on any note and follow the formula. For C major (C D E F G A B C), no sharps or flats are needed. For G major, you must raise the 7th note (F to F#) to keep the pattern correct: T T S T T T S.
从任意音开始并遵循此公式。以 C 大调为例（C D E F G A B C），不需要任何升降号。对于 G 大调，你必须升高第 7 级音（F 到 F#）才能保持模式正确：全全半全全全半。
The interval between the 1st and 8th note is always a perfect octave. The 3rd, 6th and 7th degrees of the major scale are called the 'major' intervals, and they define the bright, happy character of the mode.
第 1 级音和第 8 级音之间的音程永远是纯八度。大调音阶的第 3、第 6 和第 7 级音被称为“大”音程，它们定义了大调明亮、快乐的特质。
4. Minor Scale Patterns: Three Essential Theorems | 小调音阶的三种核心公式
Minor scales have three common forms, each following a distinct formula. The natural minor uses this step pattern: Tone – Semitone – Tone – Tone – Semitone – Tone – Tone. That is the same notes as its relative major starting on the 6th degree.
小调音阶有三种常见形式，每一种都遵循不同的公式。自然小调使用的音级模式为：全音 – 半音 – 全音 – 全音 – 半音 – 全音 – 全音。这实际上就是其关系大调从第 6 级音开始的排列。
The harmonic minor formula raises the 7th note by a semitone, creating an exotic leap of three semitones (augmented 2nd) between the 6th and 7th degrees. Pattern: T – S – T – T – S – 1½ – S.
和声小调的公式是将第 7 级音升高半音，从而在第 6 级与第 7 级之间形成一个独特的三个半音（增二度）的跳跃。模式为：全 – 半 – 全 – 全 – 半 – 1½ – 半。
The melodic minor uses different ascending and descending forms. Ascending, raise the 6th and 7th notes; descending, it reverts to the natural minor formula. Ascending formula: T – S – T – T – T – T – S.
旋律小调在上下行时使用不同的形式。上行时升高第 6 和第 7 级音；下行时恢复为自然小调公式。上行公式为：全 – 半 – 全 – 全 – 全 – 全 – 半。
5. Interval Identification: Counting Steps Correctly | 音程计算规则
An interval is the distance between two notes. To name it, count the letter names (including the start and end) to get the number (2nd, 3rd, 4th, etc.), then count the exact semitones to determine the quality (perfect, major, minor, augmented, diminished).
音程是两个音之间的距离。为了命名音程，先数字母数量（包含首尾两个音）以得到度数（二度、三度、四度等），然后数具体的半音数以确定性质（纯、大、小、增、减）。
Use this quick-reference table as your theorem for perfect and major intervals in the major scale:
| Interval | Semitones | Example from C |
|---|---|---|
| Major 2nd | 2 | C-D |
| Major 3rd | 4 | C-E |
| Perfect 4th | 5 | C-F |
| Perfect 5th | 7 | C-G |
| Major 6th | 9 | C-A |
| Major 7th | 11 | C-B |
| Perfect Octave | 12 | C-C' |
以 C 大调为例，纯音程和大音程的半音数速查表如下（可用作定理）：
| 音程 | 半音数 | 以 C 为例 |
|---|---|---|
| 大二度 | 2 | C-D |
| 大三度 | 4 | C-E |
| 纯四度 | 5 | C-F |
| 纯五度 | 7 | C-G |
| 大六度 | 9 | C-A |
| 大七度 | 11 | C-B |
| 纯八度 | 12 | C-C' |
To turn a major interval into a minor interval, reduce the number of semitones by 1. An augmented interval is one semitone wider than perfect or major; a diminished interval is one semitone narrower than perfect or minor.
要将大音程转变为小音程，只需将半音数减少 1。增音程比纯音程或大音程宽一个半音；减音程比纯音程或小音程窄一个半音。
6. Triad Construction: The Chord-Building Formula | 三和弦构建公式
A triad is a three-note chord built by stacking intervals of a third. The formula for a major triad from any root note is: root + major 3rd (4 semitones) + perfect 5th (7 semitones).
三和弦是由三个音组成的和弦，通过叠加三度音程构建。从任意根音出发构建大三和弦的公式为：根音 + 大三度（4 个半音） + 纯五度（7 个半音）。
A minor triad uses: root + minor 3rd (3 semitones) + perfect 5th (7 semitones). The only difference from a major triad is the lowered 3rd.
小三和弦使用的公式是：根音 + 小三度（3 个半音） + 纯五度（7 个半音）。与大三和弦的唯一区别就是降低了的三音。
A diminished triad is two stacked minor 3rds: root + minor 3rd (3) + diminished 5th (6 semitones). An augmented triad is two stacked major 3rds: root + major 3rd (4) + augmented 5th (8 semitones).
减三和弦由两个小三度叠加而成：根音 + 小三度（3 个半音） + 减五度（6 个半音）。增三和弦则由两个大三度叠加：根音 + 大三度（4 个半音） + 增五度（8 个半音）。
7. Dynamics: The Loudness Gradient Theorem | 力度分级与符号
Dynamics indicate how loudly or softly music is played. They follow a precise gradient, often expressed as a sequence of Italian terms and abbreviations. Memorise this 'loudness scale' from quietest to loudest:
力度标记指示音乐应当演奏得多响或多轻。它们遵循精确的渐变梯度，通常表现为一系列意大利语术语和缩写。请记住这个从最轻到最响的“响度标尺”：
ianissimo) → p (piano) → mp (mezzo-piano) → mf (mezzo-forte) → f (forte) → ff (fortissimo)
pp（很弱） → p（弱） → mp（中弱） → mf（中强） → f（强） → ff（很强）
Gradual changes have their own symbols. Crescendo (cresc.) means gradually getting louder, often notated with a hairpin that opens to the right. Diminuendo (dim.) or decrescendo means gradually getting softer, with a hairpin closing to the right.
渐变式的力度变化有自己的符号。Crescendo（渐强，简写为 cresc.）意味着逐渐变响，常用向右侧打开的渐强记号表示。Diminuendo（渐弱，简写为 dim.）或 decrescendo 意味着逐渐变轻，常用向右侧闭合的渐弱记号表示。
Sudden accents – sforzando (sfz) or forte-piano (fp) – apply a strong attack then immediately fall back to quiet. These dynamic 'equations' are essential for expressive performance.
突强类标记——sforzando (sfz) 或 forte-piano (fp)——会在一个音上施加强烈的起音后，立即回到轻柔的音量。这些力度“公式”对于富有表情的演奏至关重要。
8. Tempo Marks: The Metronome Equivalence Principle | 速度指令与节拍器标记
Tempo tells you how fast the pulse of the music moves, and each term has a rough metronome range. This table links the most common Year 7 tempo orders to their BPM (beats per minute) 'formulae'.
速度告诉你音乐的脉动有多快，每个术语都对应着一个大致的节拍器范围。下表将 Year 7 阶段最常见速度术语与其 BPM（每分钟拍数）“公式”联系起来。
| Tempo Term | Meaning | BPM Range |
|---|---|---|
| Largo | Very slow, broad | 40 – 60 |
| Adagio | Slow and stately | 66 – 76 |
| Andante | Walking pace | 76 – 108 |
| Moderato | Moderate speed | 108 – 120 |
| Allegro | Fast, lively | 120 – 168 |
| Presto | Very fast | 168 – 200 |
| 速度术语 | 含义 | BPM 范围 |
|---|---|---|
| Largo | 非常慢，宽广地 | 40 – 60 |
| Adagio | 缓慢而庄严地 | 66 – 76 |
| Andante | 步行速度 | 76 – 108 |
| Moderato | 中速 | 108 – 120 |
| Allegro | 快板，活泼地 | 120 – 168 |
| Presto | 急板，非常快 | 168 – 200 |
Remember, the formula for tempo change comes through terms like ritardando (rit.) – gradually slowing down – and accelerando (accel.) – gradually speeding up. These work like modifiers in an equation, altering the base tempo over time.
记住，速度变化的公式通过术语如 ritardando（rit.，渐慢） 和 accelerando（accel.，渐快） 来实现。它们就像方程式中的修饰符，随时间改变基础速度。
9. Key Signatures: The Order of Sharps and Flats | 调号升降号顺序规则
Key signatures appear at the start of a piece and tell you which notes are consistently raised or lowered. The sequence of sharps always follows this fixed formula, perfectly memorisable: F C G D A E B.
调号出现在乐曲的开头，告诉你哪些音需要持续升高或降低。升号出现的顺序永远遵循这个固定的公式，非常便于记忆：F C G D A E B。
A helpful mnemonic is: 'Father Charles Goes Down And Ends Battle'. The order of flats is the exact reverse: B E A D G C F, which you can remember as 'Battle Ends And Down Goes Charles' Father'.
一个有用的记忆口诀是：“Father Charles Goes Down And Ends Battle”（查尔斯爸爸走下去并结束了战斗）。降号出现的顺序正好相反：B E A D G C F，可以记作“Battle Ends And Down Goes Charles' Father”（战斗结束，查尔斯的爸爸走下去了）。
To quickly find the major key from a sharp key signature, look at the last sharp and go up one semitone. For example, if the last sharp is C#, the key is D major. For flat key signatures, the second-to-last flat is the major key – flat keys like F major (one flat) you just memorise.
要从升号调号快速找出大调，就看最后一个升号并向上移一个半音。例如，最后一个升号是 C#，调就是 D 大调。对于降号调号，倒数第二个降号就是大调名——如 F 大调（一个降号）则直接记忆即可。
10. Circle of Fifths: The Master Key Theorem | 五度圈基础原理
The Circle of Fifths is a visual formula that arranges all 12 major keys in order of increasing sharps and flats. Moving clockwise, each key is a perfect 5th higher and gains one sharp. Moving anticlockwise, each key is a perfect 5th lower and gains one flat.
五度圈是一种视觉公式，按升号与降号递增的顺序排列所有 12 个大调。顺时针移动时，每个调都比前一个调高一个纯五
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