📚 Year 7 CIE Music: Quick Reference Formula & Theorem Handbook | Year 7 CIE 音乐：公式定理速查手册
This concise handbook presents essential music theory concepts as clear "formulas" and "theorems" for Year 7 CIE Music students. Use it to quickly review pitch, rhythm, scales, intervals, chords, and notation rules – the building blocks of musical understanding. Each section pairs a key rule with its practical application.
这本速查手册将 Year 7 CIE 音乐课程中的核心乐理概念提炼为清晰的“公式”与“定理”，方便快速回顾音高、节奏、音阶、音程、和弦及记谱法则——这些都是理解音乐的基石。每个板块都配以关键规则及其实际应用。
1. The Musical Alphabet & Pitch Notation | 音乐字母表与音高记谱法
The musical alphabet consists only of the first seven letters: A, B, C, D, E, F, G. After G, the cycle repeats with A again. When we sharpen a note, we raise it by a semitone; when we flatten, we lower it by a semitone. Accidentals (♯, ♭, ♮) apply only within the same bar unless tied.
音乐字母表仅由前七个字母组成：A、B、C、D、E、F、G。G 之后循环回到 A。升半音用升号（♯）标记，降半音用降号（♭）标记。临时变音记号只在本小节内有效，除非用延音线连接至下一小节。
On the treble clef staff, the lines are E–G–B–D–F (Every Good Boy Deserves Football) and the spaces spell F–A–C–E (FACE). For the bass clef, lines are G–B–D–F–A (Good Boys Do Fine Always) and spaces are A–C–E–G (All Cows Eat Grass).
高音谱表的线上音为 E–G–B–D–F（对应口诀 Every Good Boy Deserves Football），间内音拼成 F–A–C–E。低音谱表线上音为 G–B–D–F–A（Good Boys Do Fine Always），间内音为 A–C–E–G（All Cows Eat Grass）。
2. Note Values & Time Signatures | 音符时值与拍号
. 1 crotchet equals 2 quavers (eighth notes). 1 quaver equals 2 semiquavers (sixteenth notes). Dotted notes add half of their original value: a dotted minim = minim + crotchet = 3 crotchet beats.
音符时值遵循简单的倍增关系。全音符等于 2 个二分音符；1 个二分音符等于 2 个四分音符；1 个四分音符等于 2 个八分音符；1 个八分音符等于 2 个十六分音符。附点音符增加原有时值的一半：附点二分音符 = 二分音符 + 四分音符 = 3 个四分音符的拍子。
d. The bottom number tells you the note value that counts as one beat: 4 = crotchet, 8 = quaver, 2 = minim. Simple time signatures (like 2/4, 3/4, 4/4) divide beats into two equal parts; compound time signatures (6/8, 9/8, 12/8) divide beats into three.
拍号由上方数字（每小节拍数）和下方数字（以哪种音符为一拍）组成。公式：上方数字 = 几拍，下方数字 = 什么音符为一拍。下方数字代表一拍所对应的音符：4 = 四分音符，8 = 八分音符，2 = 二分音符。单拍子（如 2/4、3/4、4/4）将拍子均分为两部分；复拍子（6/8、9/8、12/8）将拍子均分为三部分。
3. Major Scale Formula | 大调音阶公式
Every major scale is built using the same pattern of whole tones (T) and semitones (S): T – T – S – T – T – T – S. Starting from any note and applying this sequence will produce that note’s major scale. For example, C major: C–D (T), D–E (T), E–F (S), F–G (T), G–A (T), A–B (T), B–C (S). No need for accidentals in C major.
所有大调音阶都遵循相同的全音（T）与半音（S）排列模式：T – T – S – T – T – T – S。从任何音开始套用这个模式，就能得到该音的大调音阶。例如 C 大调：C–D (T)、D–E (T)、E–F (S)、F–G (T)、G–A (T)、A–B (T)、B–C (S)。C 大调无需任何变音记号。
If we start on G, the pattern forces F♯ to preserve the semitone between the 7th and 8th degrees: G–A (T), A–B (T), B–C (S), C–D (T), D–E (T), E–F♯ (T), F♯–G (S). This gives the key signature of G major: one sharp.
如果从 G 音开始，为保持第七级与第八级之间的半音关系，必须使用 F♯：G–A (T)、A–B (T)、B–C (S)、C–D (T)、D–E (T)、E–F♯ (T)、F♯–G (S)。这就是 G 大调的调号：一个升号。
4. Minor Scale Formulas | 小调音阶公式
The natural minor scale follows the pattern: T – S – T – T – S – T – T. Starting from A, it yields the A natural minor scale: A–B (T), B–C (S), C–D (T), D–E (T), E–F (S), F–G (T), G–A (T). This is the relative minor of C major, sharing the same key signature.
自然小调音阶的模式为：T – S – T – T – S – T – T。从 A 音开始，得出 A 自然小调：A–B (T)、B–C (S)、C–D (T)、D–E (T)、E–F (S)、F–G (T)、G–A (T)。这是 C 大调的关系小调，共用同一个调号。
The harmonic minor scale raises the 7th degree by a semitone, creating an augmented 2nd between the 6th and 7th degrees. Formula: T – S – T – T – S – T+S – S (where T+S = augmented tone). A harmonic minor: A–B–C–D–E–F–G♯–A.
和声小调将第七级音升高半音，在第六与第七级之间形成增二度。模式为：T – S – T – T – S – T+S – S（T+S 表示增二度）。A 和声小调：A–B–C–D–E–F–G♯–A。
The melodic minor scale raises both the 6th and 7th degrees ascending and reverts to natural minor descending. Ascending formula: T – S – T – T – T – T – S. A melodic minor ascending: A–B–C–D–E–F♯–G♯–A.
旋律小调在上行时升高第六和第七级，下行时还原为自然小调。上行模式：T – S – T – T – T – T – S。A 旋律小调上行：A–B–C–D–E–F♯–G♯–A。
5. Key Signatures & the Circle of Fifths | 调号与五度圈
Key signatures tell you which notes are consistently sharp or flat throughout a piece. The order of sharps: F♯ – C♯ – G♯ – D♯ – A♯ – E♯ – B♯. The order of flats: B♭ – E♭ – A♭ – D♭ – G♭ – C♭ – F♭. Each new key starting from C major adds one sharp (moving up a 5th) or one flat (moving down a 5th).
调号表明作品通篇有哪些音需持续升高或降低。升号出现的顺序为：F♯ – C♯ – G♯ – D♯ – A♯ – E♯ – B♯。降号出现的顺序为：B♭ – E♭ – A♭ – D♭ – G♭ – C♭ – F♭。从 C 大调开始，每向上纯五度增加一个升号，每向下纯五度增加一个降号。
To find the major key from a sharp key signature, go a semitone above the last sharp. For example, if the last sharp is D♯, the key is E major. For flat keys, the second-to-last flat in the key signature gives the name: if flats are B♭, E♭, A♭, the key is E♭ major.
从升号调号找主音大调：取最后一个升号再升高半音。例如最后一个升号为 D♯，调性即为 E 大调。降号调号中，倒数第二个降号即为调名：假如调号为 B♭、E♭、A♭，调性就是 E♭ 大调。
6. Interval Formulas | 音程公式
An interval is the distance between two notes, measured in half steps (semitones). Counting the letter names gives the interval number; the quality (major, minor, perfect, augmented, diminished) depends on the number of semitones. s, Major 6th = 9 semitones, Major 7th = 11 semitones, Octave (Perfect 8ve) = 12 semitones.
音程是两个音之间的距离，以半音数来衡量。数字母名得到音程的度数；性质（大、小、纯、增、减）取决于半音数。大二度 = 2 个半音，大三度 = 4 个半音，纯四度 = 5 个半音，纯五度 = 7 个半音，大六度 = 9 个半音，大七度 = 11 个半音，纯八度 = 12 个半音。
If a major interval is reduced by one semitone, it becomes minor. If a perfect interval is reduced by one semitone, it becomes diminished; enlarged by one semitone, augmented. Use the memory aid: seconds, thirds, sixths and sevenths come in major and minor; fourths, fifths, unisons and octaves are perfect.
若大音程减少一个半音，即变为小音程。若纯音程减少一个半音即变为减音程，增加一个半音则变为增音程。记忆口诀：二度、三度、六度、七度有大、小之分；四度、五度、一度、八度为纯音程。
7. Triad Chord Formulas | 三和弦公式
A triad is a three-note chord built by stacking two thirds on a root. The major triad formula: root + major 3rd (4 semitones) + perfect 5th (7 semitones). Example: C–E–G. The minor triad formula: root + minor 3rd (3 semitones) + perfect 5th (7 semitones). Example: A–C–E.
三和弦是由根音向上叠加两个三度构成的三音和弦。大三和弦公式：根音 + 大三度（4 个半音）+ 纯五度（7 个半音）。例：C–E–G。小三和弦公式：根音 + 小三度（3 个半音）+ 纯五度（7 个半音）。例：A–C–E。
Diminished triad: root + minor 3rd + diminished 5th (6 semitones). Example: B–D–F. Augmented triad: root + major 3rd + augmented 5th (8 semitones). Example: C–E–G♯. In a major key, the triads built on scale degrees follow a pattern: I major, ii minor, iii minor, IV major, V major, vi minor, vii° diminished (using Roman numerals, upper case for major, lower case for minor).
减三和弦：根音 + 小三度 + 减五度（6 个半音）。例：B–D–F。增三和弦：根音 + 大三度 + 增五度（8 个半音）。例：C–E–G♯。在大调中，各音级上的三和弦遵循固定模式：I 大调、ii 小调、iii 小调、IV 大调、V 大调、vi 小调、vii° 减三和弦（用罗马数字标记，大写表示大调，小写表示小调）。
8. Primary Chords & Chord Progressions | 正三和弦与和弦进行
The primary triads – I (tonic), IV (subdominant), and V (dominant) – are the most important chords in any key. In C major: I = C–E–G, IV = F–A–C, V = G–B– ludes the 7th (V⁷) to increase tension toward the tonic. A common cadential progression is I – IV – V – I.
正三和弦——I（主和弦）、IV（下属和弦）和 V（属和弦）是任何调式中最重要的和弦。以 C 大调为例：I = C–E–G，IV = F–A–C，V = G–B–D。属和弦常加上七音（V⁷）以增强向主和弦解决的倾向性。常见的终止式进行为 I – IV – V – I。
Perfect cadence (V–I) sounds final. Plagal cadence (IV–I) is the "Amen" sound. Imperfect cadence (I–V, ii–V, etc.) feels unfinished. Interrupted cadence (V–vi) provides a surprising twist. These can be remembered as formulas: V→I, IV→I, ?→V, V→vi.
正格终止（V–I） 具有完满的结束感。变格终止（IV–I） 常被称为“阿门”终止。半终止（I–V、ii–V 等） 听起来尚未结束。阻碍终止（V–vi） 带来意外的转折。可记为公式：V→I、IV→I、?→V、V→vi。
9. Dynamics & Articulation Markings | 力度与演奏法记号
Dynamics indicate volume. Common abbreviations form a graduated scale: 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 include crescendo (cresc., gradually louder) and diminuendo (dim., gradually softer).
力度记号表示音量大小。常用缩写构成渐进等级：pp（很弱）、p（弱）、mp（中弱）、mf（中强）、f（强）、ff（很强）。渐变的力度变化有 crescendo（cresc.，渐强） 和 diminuendo（dim.，渐弱）。
| Articulation Marking | Symbol | Meaning |
|---|---|---|
| Staccato | Dot above/below note | Short, detached |
| Legato | Slur | Smooth, connected |
| Accent | > or ∧ above note | Strong attack |
| Tenuto | Horizontal line | Hold note full value |
Articulation shapes how notes are played. Staccato (short and detached) is indicated by a dot above or below the note. Legato (smooth and connected) is shown by a slur. An accent (marked with > or ∧) demands a strong, stressed attack. Tenuto (a short horizontal line) asks the performer to hold the note for its full duration.
演奏法记号塑造音符的演奏方式。断奏（短促而有间隔）用音符上下的圆点表示。连奏（平滑连接）用连音线表示。重音记号（> 或 ∧）要求强而有力的发音。保持音记号（短横线）要求演奏时值充分。
10. Tempo Markings & BPM | 速度标记与每分钟拍数
Tempo markings indicate the speed of a piece. Common Italian terms in order from slow to fast: Largo (very slow, 40–60 BPM), Adagio (slow, 66–76 BPM), Andante (walking pace, 76–108 BPM), Moderato (moderate, 108–120 BPM), Allegro (fast, 120–156 BPM), Vivace (lively, 156–176 BPM), Presto (very fast, 168–200 BPM). BPM stands for beats per minute and often appears with a metronome mark.
速度标记指示作品的快慢。从慢到快的常见意大利术语：Largo（十分缓慢，40–60 BPM）、Adagio（慢速，66–76 BPM）、Andante（行板，76–108 BPM）、Moderato（中板，108–120 BPM）、Allegro（快板，120–156 BPM）、Vivace（活泼的，156–176 BPM）、Presto（急板，168–200 BPM）。BPM 表示每分钟拍子数，常与节拍器标记一同出现。
Changes in tempo can be expressed as accelerando (accel., gradually speeding up) or ritardando (rit., gradually slowing down). A return to the original tempo after a change is marked a tempo.
速度变化可用 accelerando（accel.，渐快） 或 ritardando（rit.，渐慢） 表示。变化后回到原速则标记为 a tempo。
11. Common Ornaments | 常用装饰音
Ornaments add decoration and expression to melodies. The main symbols and their formulas: Trill (tr) – rapid alternation between the written note and the note above, often starting on the upper note. Turn (𝄐) – four-note pattern: upper note, main note, lower note, main note. Mordent (𝆊 for upper, 𝆊 with vertical line for lower) – main note, auxiliary note (above or below), main note, all quickly. Acciaccatura (grace note) – a miniature note crushed quickly before the main note, taking almost no time.
装饰音为旋律增添华彩与表现力。主要符号及其公式：颤音（tr）——在本音与上方二度音之间快速交替，常从上方音开始。回音（𝄐）——四音列：上方音、本音、下方音、本音。波音（𝆊 为上波音，带竖线的为下波音）——本音、辅助音（上方或下方）、本音，快速演奏。短倚音——一个微型音符，紧贴在主音之前，几乎不占时值。
Appoggiatura is a small note that takes half the value of the main note (or two-thirds if dotted) and creates a dissonant leaning. Glissando (gliss.) – a rapid slide across adjacent notes, indicated by a wavy line.
倚音 是一个小音符，通常占主音符时值的一半（若主音符为附点音符则占三分之二），产生不协和的倚靠感。滑奏（gliss.）——用波浪线标记，表示在相邻音符间快速滑过。
12. Musical Forms & Structures | 曲式与结构
Common musical structures can be remembered with letter formulas. Binary form: AB – two contrasting sections, each often repeated. Ternary form: ABA – a first section, a contrasting middle, then a return of the first. Rondo form: ABACA (or ABACABA) – a recurring A section alternates with contrasting episodes. Theme and variations: A A₁ A₂ A₃ … – a theme is presented then altered in successive statements.
常见的曲式结构可用字母公式记忆。二部曲式：AB——两个对比段落，通常各自反复。三部曲式：ABA——第一段、对比中段、再现第一段。回旋曲式：ABACA（或 ABACABA）——反复出现的 A 段与不同插部交替。主题与变奏：A A₁ A₂ A₃ …——先呈现一个主题，随后在每次陈述中加以变化。
In Year 7, you will also encounter call and response (a short leader phrase answered by a group) and strophic form (same music for each verse, like hymns). The 12-bar blues follows a fixed chord progression: I I I I, IV IV I I, V IV I I (or V7 in the final bar).
在 Year 7 课程中，你还会接触到 呼唤与应答（一个短小的领奏乐句由群体回应）和 分节歌形式（每段歌词使用相同曲调，如赞美诗）。12 小节蓝调 遵循固定的和弦进行：I I I I，IV IV I I，V IV I I（最后一小节常用 V7）。
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