📚 Year 8 Edexcel Music: Formula & Theorem Quick Reference Guide | Year 8 Edexcel 音乐：公式定理速查手册
Welcome to your Year 8 Edexcel Music quick reference handbook. In music, a formula or a 'rule' is not a rigid mathematical equation but a reliable pattern that repeats across countless pieces. From the way you build a major scale to the progression of chords in a perfect cadence, these musical formulas are the building blocks of everything you play, sing, and compose. This guide gathers them in one place, with each principle presented in bilingual form to reinforce your understanding. Use it to check a key signature, work out an interval, or double-check the correct way to add a pause in a melody before your next assessment.
欢迎使用 Year 8 Edexcel 音乐速查手册。在音乐中，公式或“定理”并非僵硬的数学方程，而是跨越无数作品中反复出现的可靠模式。从构建大调音阶的方式到完美终止中常见的和弦进行，这些音乐公式是你演奏、演唱和创作的基础。本手册将它们汇集一处，每个原理均以双语形式呈现，以加深理解。你可以用它查阅调号、计算音程，或在下次评估前核对旋律中休止符的正确添加方式。
1. Note and Rest Durations | 音符与休止符时值
In 4/4 time, a semibreve (whole note) lasts four beats, a minim (half note) two beats, a crotchet (quarter note) one beat, a quaver (eighth note) half a beat, and a semiquaver (sixteenth note) a quarter of a beat. A dotted note increases its duration by half of its original value. For example, a dotted minim is worth 3 beats (2 + 1). The corresponding rests follow the same value system: semibreve rest, minim rest, crotchet rest, quaver rest, and semiquaver rest, each matching the silence duration of the note it represents.
在 4/4 拍中，全音符持续四拍，二分音符两拍，四分音符一拍，八分音符半拍，十六分音符四分之一拍。附点音符将其时值增加原来的一半。例如，附点二分音符为 3 拍（2 + 1）。对应的休止符遵循相同的时值系统：全休止符、二分休止符、四分休止符、八分休止符和十六分休止符，每个休止符与其所代表的音符的无声时长相匹配。
Dotted Note Formula: New Duration = Original Duration × 1.5
附点音符公式：新的时值 = 原时值 × 1.5
2. Time Signatures and Meter | 拍号与节拍
A time signature looks like a fraction. The top number shows how many beats are in each bar; the bottom number shows the note value of one beat. For example, 4/4 means four crotchet beats per bar. Simple time signatures (2/4, 3/4, 4/4) divide the beat naturally into two equal parts. Compound time signatures (6/8, 9/8, 12/8) divide the beat into three equal parts, and the main beat is a dotted note – in 6/8, there are two dotted-crotchet beats per bar. Irregular time signatures like 5/4 or 7/8 create uneven beat groupings.
拍号看起来像一个分数。上方数字表示每小节有多少拍；下方数字表示一拍的音符时值。例如，4/4 表示每小节四个四分音符的拍子。单拍子（2/4、3/4、4/4）将拍子自然地分为两个均等部分。复拍子（6/8、9/8、12/8）将拍子分为三个均等部分，主要拍子是一个附点音符——在 6/8 拍中，每小节有两个附点四分音符的拍子。不规则拍号如 5/4 或 7/8 会形成不均匀的拍子组合。
ound Beat Formula: Main Beat = 3 × Beat Sub-division (e.g., 6/8 beat = 3 quavers per beat)
复拍子公式：主要拍子 = 3 × 拍子的细分音（例如，6/8 拍的每拍 = 3 个八分音符）
3. Key Signatures and Major Scales | 调号与大调音阶
A major scale follows the fixed formula of tones (T) and semitones (S): T, T, S, T, T, T, S. Starting on any note, applying this pattern builds the scale. The key signature writes the sharps or flats at the beginning of the stave to avoid writing accidentals every time. The order of sharps is F♯, C♯, G♯, D♯, A♯, E♯, B♯. The order of flats is B♭, E♭, A♭, D♭, G♭, C♭, F♭. To find the major key from a sharp key signature, go one semitone up from the last sharp. For flat key signatures, the second-to-last flat is the key (except F major, which has one flat).
大调音阶遵循固定的全音（T）与半音（S）公式：全、全、半、全、全、全、半。从任意音开始，应用此模式即可建立音阶。调号将升记号或降记号线写在五线谱开头，以避免每次书写临时变音记号。升记号的顺序为：F♯、C♯、G♯、D♯、A♯、E♯、B♯。降记号的顺序为：B♭、E♭、A♭、D♭、G♭、C♭、F♭。从升号调号找大调的主音：从最后一个升号向上一个半音。对于降号调号，倒数第二个降号就是主音（F 大调例外，它只有一个降号）。
Major Scale Formula: T–T–S–T–T–T–S
大调音阶公式：全–全–半–全–全–全–半
4. Minor Scales and Relative Keys | 小调音阶与关系调
The natural minor scale uses the formula: T, S, T, T, S, T, T. The harmonic minor raises the 7th degree by a semitone (creating T, S, T, T, S, T+S, S). The melodic minor raises both the 6th and 7th degrees by a semitone when ascending (T, S, T, T, T, T, S) and reverts to the natural minor when descending. Every major key has a relative minor key sharing the same key signature, found by going down three semitones from the major tonic. For example, C major's relative minor is A minor.
自然小调音阶使用公式：全、半、全、全、半、全、全。和声小调升高第 7 级音半度（形成全、半、全、全、半、增二度、半）。旋律小调上行时升高第 6 和第 7 级音半度（全、半、全、全、全、全、半），下行时还原为自然小调。每个大调都有一个使用相同调号的关系小调，从大调主音向下小三度即可找到。例如，C 大调的关系小调是 a 小调。
Relative Minor = Major Tonic – 3 Semitones
关系小调 = 大调主音 – 3 个半音
5. Intervals | 音程
An interval measures the distance between two notes. Count the letter names to find the interval number, then determine quality: perfect (unison, 4th, 5th, octave), major/minor (2nd, 3rd, 6th, 7th). Perfect intervals remain 'perfect' even when built on different scale degrees, while major and minor intervals differ by a semitone. A major interval reduced by a semitone becomes minor; a minor reduced further becomes diminished. A perfect interval increased by a semitone becomes augmented. The interval formula can be memorised through the major scale: for any major scale, intervals from the tonic to each scale degree are all perfect or major.
音程衡量两个音之间的距离。先数字母名得出音程的度数，再确定其性质：纯音程（同度、四度、五度、八度）与大/小音程（二度、三度、六度、七度）。纯音程即使建立在不同音级上仍保持“纯”的性质，而大音程与小音程相差一个半音。大音程减少一个半音成为小音程；小音程再减少成为减音程。纯音程增加一个半音成为增音程。音程公式可借助大调音阶记忆：对于任何大调，从主音到音阶各音的音程均为纯音程或大音程。
Major/Minor Conversion: Minor = Major – 1 Semitone
大/小音程转换：小音程 = 大音程 – 1 个半音
6. Chords and Triads | 和弦与三和弦
A triad is a three-note chord built by stacking two thirds. The root position triad consists of the root, a third above it, and a fifth above the root. The tonic triad (I) in a major key uses degrees 1-3-5 and is major (root to 3rd: 4 semitones, 3rd to 5th: 3 semitones). The subdominant (IV) and dominant (V) triads are also major. The supertonic (ii) and mediant (iii) triads are minor. The leading-note triad (vii°) is diminished. In a natural minor key, triads built on i, iv, and v (without raised leading note) follow a different pattern: i minor, ii° diminished, III major, iv minor, v minor, VI major, VII major.
三和弦是由两个三度音程叠置而成的三个音的和弦。原位三和弦由根音、其上的三度音和根音上方的五度音构成。大调中的主三和弦（I）使用 1-3-5 级音，为大三和弦（根音至三音：4 个半音，三音至五音：3 个半音）。下属三和弦（IV）与属三和弦（V）也是大三和弦。上主三和弦（ii）与中三和弦（iii）为小三和弦。导三和弦（vii°）是减三和弦。在自然小调中，以 i、iv 和 v（不升高导音）建立的三和弦遵循另一模式：i 小、ii° 减、III 大、iv 小、v 小、VI 大、VII 大。
Triad Formula: Root + 3rd + 5th
三和弦公式：根音 + 三音 + 五音
7. Cadences | 终止式
A cadence is a two-chord progression that ends a phrase. The perfect cadence (V–I) sounds complete and final; the plagal cadence (IV–I) is the 'Amen' cadence. The imperfect cadence (I–V, ii–V, IV–V) sounds unresolved and expects continuation. The interrupted cadence (V–vi) surprises the listener by replacing the expected I chord with the submediant. In minor keys, the raised leading note is essential in the dominant chord (V) to create a strong pull back to the tonic in a perfect cadence.
终止式是结束一个乐句的两个和弦的进行。正格终止（V–I）听感完整且具有终了性；变格终止（IV–I）就是“阿们”终止。不完全终止（I–V、ii–V、IV–V）听感未解决，期待继续发展。阻碍终止（V–vi）以外音和弦代替预期的 I 和弦，令听者感到意外。在小调中，为产生强烈的导音倾向以回归主音，属和弦（V）中必须升高导音，才能构成正格终止。
| Cadence | Progression | Termination |
| Perfect | V – I | Final |
| Plagal | IV – I | Amen |
| Imperfect | ? – V | Unresolved |
| Interrupted | V – vi | Surprise |
终止式 | 进行 | 特性
8. Tempo and Dynamics | 速度与力度
Tempo marks are usually given in Italian terms. Common ones include Largo (very slow), Adagio (slow), Andante (walking pace), Moderato (moderate), Allegro (fast and lively), and Presto (very fast). Metronome marks link these terms to a precise number of beats per minute (bpm). Dynamics indicate volume: pp (pianissimo, very soft), p (piano, soft), mp (mezzo-piano, moderately soft), mf (mezzo-forte, moderately loud), f (forte, loud), ff (fortissimo, very loud). Sudden changes are marked with sfz (sforzando) or fp (fortepiano). Gradual increases use crescendo (cresc.) and decreases use diminuendo (dim.) or decrescendo (decresc.).
速度标记通常使用意大利语术语。常见的有：Largo（广板，非常慢）、Adagio（柔板，慢）、Andante（行板，步行速度）、Moderato（中板，中速）、Allegro（快板，快速而活泼）、Presto（急板，非常快）。节拍器记号将这些术语与每分钟精确的拍数（bpm）联系起来。力度指示音量：pp（很弱）、p（弱）、mp（中弱）、mf（中强）、f（强）、ff（很强）。突然的力度变化用 sfz（突强）或 fp（强后突弱）标记。渐强用 crescendo（cresc.），渐弱用 diminuendo（dim.）或 decrescendo（decresc.）。
Crescendo/Diminuendo: Gradual Volume Change over Time
渐强/渐弱：随时间逐渐变化的音量
9. Articulation and Expression | 运音法与表情
ected. Accents (> or ^) emphasise a single note; tenuto (a line above/below) means held for full value or slightly stressed. Other expression marks include dolce (sweetly), cantabile (singing style), maestoso (majestic), and agitato (agitated). These combine with dynamics to shape phrasing.
运音法告诉你如何演奏每一个音符。断奏（音符上方或下方的圆点）表示短促而分离。连奏（用连线标示）表示平滑而连贯。重音记号（> 或 ^）强调个别的音；保持音（音符上方或下方的短横线）表示奏足时值或稍加压力。其他表情记号包括 dolce（甜美的）、cantabile（如歌的）、maestoso（庄严的）和 agitato（激动的）。它们与力度结合，共同塑造乐句。
- Staccato: Short, detached – 断奏：短促、分离
- Legato: Smooth, connected – 连奏：平滑、连贯
- Accent: Emphasise the note – 重音：强调该音
10. Musical Form and Structure | 曲式与结构
Form describes the overall plan of a piece. Binary form (AB) has two contrasting sections, each usually repeated. Ternary form (ABA) returns to the opening material after a contrasting middle section. Rondo form (ABACA) has a recurring A theme alternating with contrasting episodes. Theme and Variations (A A' A'' A''') takes a main idea and alters it through changes in rhythm, harmony, key, or texture. The 12-bar Blues is a specific chord progression: I – I – I – I – IV – IV – I – I – V – IV – I – I (or V), often with a swing rhythm.
曲式描述音乐作品的整体布局。二段体（AB）有两个对比的段落，每段通常会反复。三段体（ABA）在对比的中段之后回归开头的素材。回旋曲式（ABACA）有一个反复出现的 A 主题与多个对比的插部交替。主题与变奏（A A' A'' A'''）选取一个主要乐思，通过节奏、和声、调性或织体的变化来改变它。12 小节蓝调是一种特定的和弦进行：I – I – I – I – IV – IV – I – I – V – IV – I – I（或 V），常伴有摇摆节奏。
12-Bar Blues Formula: I-IV-I-V-IV-I (in 12 bars)
12 小节蓝调公式：I-IV-I-V-IV-I（共 12 小节）
11. Ornaments and Techniques | 装饰音与演奏技法
Ornaments embellish the melody. A trill is a rapid alternation between the written note and the note above. A turn goes: note above, written note, note below, written note. A mordent is a single rapid alternation (upper mordent: written note – upper note – written note; lower mordent: written note – lower note – written note). An appoggiatura is a leaning note that takes half the main note's value and resolves by step. An acciaccatura (grace note) is crushed quickly before the main note. These symbols have specific shapes and must be recognised in scores.
装饰音能让旋律更加丰富。颤音是在本音与其上方邻音之间快速交替演奏。回音的演奏顺序为：上方音、本音、下方音、本音。波音是一次快速的交替：上波音为本音–上方音–本音；下波音为本音–下方音–本音。倚音是一个占主音一半时值的依附音，级进解决。碎音（短倚音）是在主音之前极快地一带而过的小音符。这些符号都有特定的形状，必须在乐谱中予以识别。
- Trill: rapid main-upper-main alternation – 颤音：主音与上方音的快速交替
- Upper Mordent: main-upper-main – 上波音：主音–上方音–主音
- Appoggiatura: leaning note, ½ of value – 倚音：占一半时值的依附音
12. Quick Reference Tables | 速查表格
Use the tables below as a condensed summary of key signatures, note values, and common Italian terms. These are your 'formula cards' for a quick mental check before an exam or a practical performance.
以下表格可作为调号、音符时值和常用意大利术语的浓缩速查。它们是你考试或实际演奏前快速回忆的“公式卡片”。
| Key Signatures (Major Keys) | |
| C Major | No sharps/flats |
| G Major | F♯ |
| D Major | F♯, C♯ |
| F Major | B♭ |
| B♭ Major | B♭, E♭ |
| Common Tempo Terms | |
| Lento / Largo | Slow / Very slow – 慢 / 非常慢 |
| Andante | Walking pace – 步行速度 |
| Moderato | Moderate – 中速 |
| Allegro | Fast, lively – 快速、活泼 |
| Presto | Very fast – 非常快 |
| Dynamic Marks | |
| pp | Very soft – 很弱 |
| p | Soft – 弱 |
| mp / mf | Moderately soft / loud – 中弱 / 中强 |
| f | Loud – 强 |
| ff | Very loud – 很强 |
These formulas and reference tables cover the core theoretical knowledge expected in Year 8 Edexcel Music. Regular revision of these patterns will sharpen your score-reading, composition, and aural skills. Keep this handbook with your instrument or music folder and revisit it often.
这些公式和速查表格涵盖了 Year 8 Edexcel 音乐所要求掌握的核心理论知识。经常温习这些模式将提升你的读谱、作曲和听觉技能。请将本手册放在乐器或乐谱夹旁，并时常查阅。
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