📚 Year 7 CCEA Music: Quick Reference Handbook of Musical Formulas and Rules | Year 7 CCEA 音乐：公式定理速查手册
Welcome to your Year 7 CCEA Music quick‑reference companion. Just as maths uses formulas to solve problems, music relies on a set of rules, patterns and symbols that give structure to every piece you play, sing or compose. This handbook brings together all the essential “musical formulas” you need for your studies – from note lengths and key signatures to chord patterns and forms – presented in a clear, bilingual format to help you build confidence in reading, performing and discussing music.
欢迎使用你的 Year 7 CCEA 音乐速查手册。就像数学运用公式来解决问题一样，音乐也依赖一套规则、模式与符号，为你演奏、演唱或创作的每一首作品赋予结构。本手册汇集了你学习所需的所有关键“音乐公式”——从音符时值和调号到和弦模式与曲式——并以清晰的双语形式呈现，帮助你在识谱、表演和讨论音乐时建立信心。
1. Note Values and Rests | 音符时值与休止符
In a regular 4/4 bar, each note value represents a fixed number of beats. Below is the fundamental “formula” for converting note symbols into duration. Every note has a matching rest that tells you to stay silent for the same number of beats.
在常规的 4/4 小节中，每种音符时值代表固定的拍数。以下是将音符符号转换为时值的基本“公式”。每个音符都有对应的休止符，指示你保持同样拍数的安静。
| English Name | Symbol | 中文名称 | Beat Value (4/4) |
|---|---|---|---|
| Semibreve (whole note) | 𝅝 | 全音符 | 4 beats |
| Minim (half note) | 𝅗𝅥 | 二分音符 | 2 beats |
| Crotchet (quarter note) | 𝅘𝅥 | 四分音符 | 1 beat |
| Quaver (eighth note) | 𝅘𝅥𝅮 | 八分音符 | ½ beat |
| Semiquaver (sixteenth note) | 𝅘𝅥𝅯 | 十六分音符 | ¼ beat |
Matching rests follow the same beat pattern: semibreve rest 𝄻 (4 beats), minim rest 𝄼 (2 beats), crotchet rest 𝄽 (1 beat), quaver rest 𝄾 (½ beat), semiquaver rest 𝄿 (¼ beat). Remember that the “rule” of addition always applies – two minims equal one semibreve, two quavers equal one crotchet, and so on.
对应的休止符遵循相同的拍数规律：全休止符 𝄻（4拍）、二分休止符 𝄼（2拍）、四分休止符 𝄽（1拍）、八分休止符 𝄾（½拍）、十六分休止符 𝄿（¼拍）。记住，加法的“法则”永远适用——两个二分音符等于一个全音符，两个八分音符等于一个四分音符，依此类推。
2. Dots, Ties and Triplets | 附点、连音线与三连音
dot placed after a note adds half of its original value. This is one of the first rhythmic “formulas” must memorise: dotted note = note value + (note value ÷ 2). For example, a dotted minim (𝅗𝅥.) is worth 2 + 1 = 3 beats. A dotted crotchet (𝅘𝅥.) lasts 1 + ½ = 1½ beats.
附点在音符后增加原有时值的一半。这是你必须记住的首批节奏“公式”之一：附点音符 = 音符时值 + (音符时值 ÷ 2)。例如，附点二分音符（𝅗𝅥.）的时值为 2 + 1 = 3 拍。附点四分音符（𝅘𝅥.）持续 1 + ½ = 1½ 拍。
A tie is a curved line joining two notes of the same pitch. The formula here is simple: hold the sound for the sum of the tied notes’ durations. Ties are used when the total duration cannot be written with a single note or dot. A triplet, on the other hand, divides a beat that is normally split into two equal parts into three equal parts. Its rule: “3 in the time of 2”. For instance, a quaver triplet in 4/4 fits three quavers into the space normally occupied by two.
连音线是一条连接两个相同音高音符的弧线。这里的公式很简单：按住声音，使其持续时间为被连接音符的总和。当总时值无法用单个音符或附点表示时，就会使用连音线。另一方面，三连音将一个通常平分为两部分的拍子分成了三等份。其规则是：“在2的时间里演奏3个音”。例如，4/4 拍中的八分三连音将三个八分音符塞进通常两个八分音符所占的空间。
3. Time Signatures | 拍号
A time signature is a musical fraction that tells you how many beats are in each bar (top number) and what note value counts as one beat (bottom number). The most common “formula” in Year 7 is 4/4, where the top 4 means four beats per bar and the bottom 4 means a crotchet (quarter note) receives one beat. The 3/4 formula means three crotchet beats per bar, while 2/4 gives two crotchet beats.
拍号是一个音乐分数，告诉你每小节有多少拍（上方数字）以及以何种音符为一拍（下方数字）。Year 7 中最常见的“公式”是 4/4，上方的 4 表示每小节有四拍，下方的 4 表示以四分音符为一拍。3/4 公式表示每小节有三个四分音符拍，而 2/4 则给出两个四分音符拍。
fferent rule: the top number 6 indicates six quaver beats, usually grouped into two dotted‑ imple time the bottom number tells you the beat unit: 4 = crotchet, 8 = quaver, 2 = minim.
单拍子的拍号上方数字为 2、3 或 4，节拍自然地分成两等份。复拍子（如 6/8）遵循不同的规则：上方数字 6 表示六个八分音符拍，通常组合成两个附点四分音符的脉动。快速检查的方法：对于单拍子，下方数字告诉你拍子单位——4 代表四分音符，8 代表八分音符，2 代表二分音符。
4. Accidentals and Key Signatures | 升降号与调号
Accidentals are symbols that alter the pitch of a note. The three important ones are the sharp (♯), which raises a note by a semitone, the flat (♭), which lowers it by a semitone, and the natural (♮), which cancels any previous accidental. These symbols act like a temporary “formula” applied to individual notes within a bar.
临时记号是改变音高的符号。三个重要的符号是升号（♯），将音升高半音；降号（♭），将音降低半音；以及还原号（♮），取消之前任何临时记号的效力。这些符号就像仅在单小节内应用于个别音符的临时“公式”。
A key signature is a collection of sharps or flats placed at the start of every stave. It tells you which notes should be played sharp or flat throughout the whole piece – unless a natural sign changes them. The major scale with no sharps or flats is C major. Each sharp added follows the order F♯, C♯, G♯, D♯, A♯, E♯, B♯; flats appear in the reverse order B♭, E♭, A♭, D♭, G♭, C♭, F♭. For Year 7, you will mostly work with keys up to one sharp or one flat: G major (1 sharp – F♯) and F major (1 flat – B♭).
调号是位于每行谱表开头的一系列升号或降号。它告诉你整首乐曲中哪些音符应演奏为升或降——除非还原记号将其改变。没有升降号的大调是 C 大调。每增加一个升号遵循顺序 F♯、C♯、G♯、D♯、A♯、E♯、B♯；降号以相反顺序出现 B♭、E♭、A♭、D♭、G♭、C♭、F♭。对于 Year 7，你主要接触最多一升一降的调：G 大调（一升——F♯）和 F 大调（一降——B♭）。
5. The Major Scale Formula | 大调音阶公式
Every major scale follows the same pattern of tones (T) and semitones (S). The ascending “formula” is: T – T – S – T – T – T – S. Starting on C, this gives all the white notes: C (T) D (T) E (S) F (T) G (T) A (T) B (S) C. Apply this formula beginning on any note to build a major scale; G major uses G (T) A (T) B (S) C (T) D (T) E (T) F♯ (S) G, automatically introducing the sharp.
每个大调音阶都遵循相同的全音（T）与半音（S）模式。上行的“公式”为：T – T – S – T – T – T – S。从 C 开始，得到所有白键音：C (T) D (T) E (S) F (T) G (T) A (T) B (S) C。将此公式应用于任意起始音，即可构建大调音阶；G 大调使用 G (T) A (T) B (S) C (T) D (T) E (T) F♯ (S) G，自动引入了升号。
This tone‑semitone rule is the backbone of melody in CCEA Year 7 listening and composing tasks. You can check your scale by singing it back: “do, re, mi, fa, sol, la, ti, do”. The intervals between mi–fa (S) and ti–do (S) must always feel closer than the others. Recognising where the two semitones fall is the key to grasping any key signature.
这条全音-半音规则是 CCEA Year 7 听力与创作任务中旋律的支柱。你可以通过反向视唱来检验音阶：“do, re, mi, fa, sol, la, ti, do”。mi–fa（S）和 ti–do（S）之间的音程必须始终感觉比其他音程更紧凑。识别这两个半音的所在位置是掌握任何调号的关键。
6. Intervals: Number and Quality | 音程：级数与性质
An interval measures the distance between two notes. The first step is to count the letter names (the “number”): C to E spans three letters (C‑D‑E), so it is a 3rd. The quality – perfect, major, minor, augmented or diminished – is then determined by the number of semitones. Year 7 musicians mainly deal with intervals inside the major scale: unisons, 2nds, 3rds, 4ths, 5ths and octaves.
音程衡量两个音符之间的距离。第一步是数音名（“级数”）：C 到 E 涵盖三个字母（C‑D‑E），因此它是一个三度。其性质——纯、大、小、增或减——随后由半音数量决定。Year 7 学生主要处理大调音阶内的音程：同度、二度、三度、四度、五度和八度。
The formula for identifying a major 3rd is 4 semitones, while a minor 3rd is 3 semitones. A perfect 4th equals 5 semitones and a perfect 5th equals 7 semitones. The octave is the simplest formula of all: the same letter name, exactly 12 semitones apart. Start by singing these intervals: “Twinkle Twinkle” begins with a perfect 5th; “Oh, When the Saints” opens with a major 3rd.
识别大三度的公式是 4 个半音，而小三度为 3 个半音。纯四度等于 5 个半音，纯五度等于 7 个半音。八度是所有公式中最简单的：相同的音名，相距恰好 12 个半音。从视唱这些音程开始：“一闪一闪亮晶晶”以纯五度开始；“圣徒进行曲”以大三度开头。
7. Dynamics and Tempo | 力度与速度
Dynamics are the “volume formula” of music. Italian terms are the standard code: piano (p) means soft, forte (f) means loud, mezzo piano (mp) moderately soft, and mezzo forte (mf) moderately loud. Gradual changes use crescendo (cresc., getting gradually louder) and diminuendo (dim., gradually softer). Think of a crescendo as adding energy, while a diminuendo releases it.
力度是音乐的“音量公式”。意大利术语是标准代码：piano（p）表示弱，forte（f）表示强，mezzo piano（mp）中弱，mezzo forte（mf）中强。渐变力度使用 crescendo（cresc.，渐强）和 diminuendo（dim.，渐弱）。可以将渐强想象成增加能量，而渐弱则释放能量。
Tempo marks tell you the speed of the beat. Common formulas include Largo (very slow), Andante (walking pace), Moderato (moderate speed), Allegro (fast, cheerful) and Presto (very fast). A metronome mark, such as ♩ = 120, gives a precise beat‑per‑ ee these instructions at the start of pieces and learn to respond to them when performing.
速度标记告诉你节拍进行得快慢。常见公式包括 Largo（非常慢）、Andante（步行速度）、Moderato（中速）、Allegro（快，活泼）和 Presto（非常快）。节拍器标记，如 ♩ = 120，给出了精确的每分钟拍数等式：每分钟 120 个四分音符拍。在 Year 7，你会在乐曲开头看到这些指示，并学会在表演时对其做出反应。
8. Articulation Marks | 演奏法记号
Articulation shapes how each note is attacked or connected. A slur (a curved line over or under different notes) asks for smooth, legato playing – imagine flowing from one note to the next without gaps. Staccato (a dot above or below the note head) means short and detached: the note is clipped, typically held for about half its written value.
演奏法塑造每个音符的起音或连接方式。圆滑线（位于不同音符上方或下方的弧线）要求平滑、连奏的演奏——想象从一个音符无缝地流向下一个音符。断奏（音符符头上面或下面的圆点）表示短促而断开：音符被缩短，通常只保持约一半的书写时值。
An accent (>) commands a strong attack on that note, often louder and slightly separated. Tenuto (–) tells you to give the note its full value, maybe with a gentle emphasis. The formula for staccato plus legato mix is “non‑legato” – detached but not overly short. When you see a slur combined with staccato dots, it is called portato: gently separated notes within one bow or breath.
重音记号（>）要求对那个音符施加强烈的起音，通常更响亮且略微断开。保持音记号（–）指示你将音符奏满其时值，或许加上轻柔的强调。断奏与连奏混合的公式称为“非连奏”——音符断开但不过分短促。当你看到圆滑线与断奏点结合时，称为“波弓”（portato）：在一弓或一口气内奏出温和断开的音符。
9. Reading the Treble and Bass Clefs | 识读高音谱号与低音谱号
The treble clef (𝄞) curls around the second line, which names it G – hence it is also called the G clef. The note formulas for the lines are E, G, B, D, F (often remembered with “Every Good Boy Deserves Football”) and the spaces spell F, A, C, E. Middle C sits on one ledger line below the stave.
高音谱号（𝄞）环绕第二线，该线名为 G——因此也被称为 G 谱号。线上音符的公式为 E、G、B、D、F（常记作“Every Good Boy Deserves Football”），间内音符拼出 F、A、C、E。中央 C 位于下加一线的位置。
The bass clef (𝄢) has two dots either side of the fourth line, which is F – the F clef. Line notes are G, B, D, F, A (“Good Birds Don’t Fly Away”) and space notes are A, C, E, G (“All Cows Eat Grass”). Middle C sits on one ledger line above the bass stave. The formula connecting the two staves is the grand staff: middle C is exactly one line between them, so you can find your way from treble to bass by counting steps down or up from this shared landmark.
低音谱号（𝄢）的两点跨立第四线，该线为 F——即 F 谱号。线上的音符为 G、B、D、F、A（“Good Birds Don’t Fly Away”），间内音符为 A、C、E、G（“All Cows Eat Grass”）。中央 C 位于低音谱号上方加一线。连接两个谱号的公式是大谱表：中央 C 恰好在它们之间的一条线，因此你可以从这个共享地标向下或向上数级，在高音谱表与低音谱表之间导航。
10. Primary Chords (I, IV, V) | 正三和弦 (I, IV, V)
In any major key, the tonic (I), subdominant (IV) and dominant (V) triads are the primary chords. A triad is a three‑note “chord formula” built by stacking two 3rds on top of each other. Using C major as an example: chord I is C‑E‑G, chord IV is F‑A‑C, and chord V is G‑B‑D. These three chords are enough to harmonise almost any simple tune.
在任何大调中，主和弦（I）、下属和弦（IV）与属和弦（V）是正三和弦。三和弦是一种由两个三度叠置而成的三音“和弦公式”。以 C 大调为例：和弦 I 为 C‑E‑G，和弦 IV 为 F‑A‑C，和弦 V 为 G‑B‑D。仅这三个和弦便足以给几乎所有简单旋律配和声。
The roman numeral formula stays the same in every major key: I is built on the 1st scale degree, IV on the 4th, V on the 5th. The dominant chord (V) often includes the 7th (e.g. G‑B‑D‑F) to create a stronger pull back to the tonic. When you see chord symbols above a melody – C, F, G7 – you are reading a shorthand version of the same primary‑chord rule.
罗马数字公式在每一个大调中都保持相同：I 建立在第 1 音级上，IV 在第 4 级，V 在第 5 级。属和弦（V）常加入七音（如 G‑B‑D‑F），以产生更强的回到主和弦的倾向性。当你在旋律上方看到和弦符号——C、F、G7——你其实正在阅读同一正三和弦规则的速记版本。
11. Binary, Ternary and Rondo Form | 二部、三部及回旋曲式
Musical form is the architecture of a piece, and Year 7 uses letters to label sections. Binary form (AB) follows the formula: two contrasting sections, usually both repeated. A classic dance movement is often binary. Ternary form (ABA) is a three‑part sandwich: a main idea (A), a contrasting middle section (B), then a return of A. Think of “Twinkle, Twinkle, Little Star” extended with a contrasting middle and a reprise.
音乐曲式是作品的建筑结构，Year 7 使用字母标记段落。二部曲式（AB）遵循这一公式：两个对比段落，通常各自反复。经典的舞曲乐章常为二部曲式。三部曲式（ABA）是一个三部分的三明治：主要主题（A）、对比中段（B），然后返回 A。可以想象“一闪一闪亮晶晶”扩展出一个对比中段和再现。
Rondo form (ABACA…) adds an extra twist: the A section keeps returning between different episodes. The formula is “ritornello” principle – the main theme acts as a musical home to which the music always comes back. When listening, try to raise your hand each time you hear the A section return; the pattern becomes clear.
回旋曲式（ABACA…）加入了额外的变化：A 段落不断在不同插部之间回归。其公式是“利都奈罗”原则——主旋律充当音乐的家，音乐总会回到这里。在聆听时，试着每次听到 A 段落回归就举起手；模式会变得清晰。
12. Essential Musical Symbols and Terms | 必备音乐符号与术语
This final section collects the symbols and Italian directions that appear most often in Year 7 scores. A repeat sign (𝄆 … 𝄇) tells you to play a section again; a first‑ and second‑time bar (1. and 2.) guides you to take different endings after a repeat. The pause symbol (𝄐, fermata) means hold the note longer than its written value, at the performer’s discretion.
最后这个部分汇总了 Year 7 乐谱中最常出现的符号和意大利语指示。反复记号（𝄆 … 𝄇）告诉你再次演奏某一段落；一房子和二房子（1. 和 2.）引导你在反复后采用不同的结尾。延长记号（𝄐，fermata）表示根据演奏者的判断，将音符保持得比书写时值更长。
Other hand‑picked formulas: da capo (D.C.) means go back to the beginning; dal segno (D.S.) return to the sign (𝄉); Fine marks the end of the piece after a D.C. or D.S.; a breath mark (') suggests a short lift; and an octave sign (8va) shifts notes up or down an octave. Keep this section bookmarked – it is a powerful toolkit for sight‑reading and exam papers.
其他精选公式：da capo（D.C.）表示回到开头； Published by TutorHao | Year 7 音乐 Revision Series | aleveler.com
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