📚 Year 11 AQA Music: Quick Reference to Key Musical Rules and Concepts | Year 11 AQA 音乐：公式定理速查手册
This quick reference handbook brings together the essential 'formulas' and theoretical rules that underpin the AQA GCSE Music course. From note values and scale construction to chord progressions and structural devices, you will find clear explanations paired with concise definitions to support listening, appraising, and composing tasks. Use it to revise key concepts, check terminology, and build a solid foundation for the exam.
这本速查手册汇集了 AQA GCSE 音乐课程所依赖的基本“公式”与理论规则。从音符时值和音阶构建到和弦进行与曲式手法，每一部分都提供了清晰的解释与简明的定义，帮助你完成聆听、评价与创作任务。可以用它来复习核心概念、核对术语，为考试打下扎实基础。
1. Note Values and Rests | 音符与休止符时值
In common time, a semibreve (whole note) lasts four beats, a minim (half note) lasts two beats, a crotchet (quarter note) lasts one beat, a quaver (eighth note) lasts half a beat, and a semiquaver (sixteenth note) lasts a quarter of a beat. Each note has an equivalent rest of the same duration. Dotted notes add half of the original value: a dotted crotchet equals one and a half beats.
在普通拍子中，全音符持续四拍，二分音符持续两拍，四分音符持续一拍，八分音符持续半拍，十六分音符持续四分之一拍。每种音符都有同样时值的休止符。附点音符增加原有时值的一半：附点四分音符等于一拍半。
| English name | 中文名称 | Beats |
|---|---|---|
| Semibreve | 全音符 | 4 |
| Minim | 二分音符 | 2 |
| Crotchet | 四分音符 | 1 |
| Quaver | 八分音符 | 1/2 |
| Semiquaver | 十六分音符 | 1/4 |
| Dotted minim | 附点二分音符 | 3 |
| Dotted crotchet | 附点四分音符 | 1½ |
Rests follow the same hierarchy: semibreve rest hangs below the line, minim rest sits on the line, and crotchet rest uses a squiggle shape. Always check that the total beats per bar match the time signature.
休止符遵守同样的层级：全休止符挂在谱线下方，二分休止符坐在线上，四分休止符采用波浪形符号。要始终确保每小节的总拍数与拍号相符。
2. Time Signatures | 拍号
The time signature appears at the start of a piece. The top number tells you how many beats are in each bar; the bottom number tells you what kind of beat counts as one unit. For example, 4/4 means four crotchet beats per bar, while 3/8 means three quaver beats per bar. Simple time signatures have beats that divide naturally into two equal parts (e.g. 2/4, 3/4, 4/4). Compound time signatures have dotted beats that divide into three equal parts (e.g. 6/8, 9/8, 12/8).
拍号出现在乐曲开头。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。例如，4/4 拍表示每小节有四拍，以四分音符为一拍；3/8 拍表示每小节有三拍，以八分音符为一拍。单拍子的拍子可以自然地分成两个相等的部分（如2/4、3/4、4/4）。复拍子以附点音符为一拍，每拍分成三个相等的部分（如6/8、9/8、12/8）。
Simple: top number 2, 3 or 4 → beats divide into 2
单拍子：上方数字为2、3或4 → 拍子分为二等分
Compound: top number 6, 9 or 12 → dotted beat divides into 3
复拍子：上方数字为6、9或12 → 附点拍分为三等分
Irregular time signatures such as 5/4 or 7/8 combine groups of two and three quavers. They are often used in folk and progressive styles to create an unsettled feel.
不规则拍号如 5/4 或 7/8 由二拍组与三拍组结合而成，常用于民谣和前卫风格，以营造不安定感。
3. Key Signatures and the Circle of Fifths | 调号与五度循环
The key signature is the set of sharps or flats placed after the clef, indicating which notes are consistently altered. To work out a major key from sharps: the last sharp is the leading note (seventh degree), so go up one semitone. For flats: the second-to-last flat is the tonic. The relative minor key shares the same key signature and is found a minor third below the major tonic.
调号是放在谱号后面的一组升号或降号，指明哪些音符持续被变化。从升号推算大调：最后一个升号是该调的导音（第七级），往上推一个半音即为主音。对于降号：倒数第二个降号就是主音。关系小调使用相同的调号，位于大调主音下方小三度。
Circle of fifths pattern: C(0) – G(1♯) – D(2♯) – A(3♯) – E(4♯) – B(5♯) – F♯(6♯) – C♯(7♯)
F(1♭) – B♭(2♭) – E♭(3♭) – A♭(4♭) – D♭(5♭) – G♭(6♭) – C♭(7♭)
五度循环规律：C(0) – G(1♯) – D(2♯) – A(3♯) – E(4♯) – B(5♯) – F♯(6♯) – C♯(7♯)
F(1♭) – B♭(2♭) – E♭(3♭) – A♭(4♭) – D♭(5♭) – G♭(6♭) – C♭(7♭)
Always memorise the relative minor pairs: C major – A minor, G major – E minor, D major – B minor, F major – D minor, B♭ major – G minor, and so on.
务必熟记关系大小调配对：C 大调 – a 小调，G 大调 – e 小调，D 大调 – b 小调，F 大调 – d 小调，B♭ 大调 – g 小调等。
4. Scale Formulas | 音阶公式
A major scale follows the pattern tone–tone–semitone–tone–tone–tone–semitone (T–T–S–T–T–T–S). The natural minor scale uses T–S–T–T–S–T–T. The harmonic minor retains the same pattern but raises the seventh degree by a semitone, producing an augmented second between the sixth and seventh degrees. The melodic minor raises the sixth and seventh degrees when ascending but reverts to the natural minor form when descending.
大调音阶遵循全音–全音–半音–全音–全音–全音–半音（T–T–S–T–T–T–S）。自然小调音阶使用 T–S–T–T–S–T–T。和声小调保持相同模式，但将第七级升高半音，从而在六级和七级之间形成增二度。旋律小调在上行时升高第六和第七级，下行时恢复为自然小调形式。
Major: C – D – E – F – G – A – B – C
Natural minor: A – B – C – D – E – F – G – A
The pentatonic scale (for example C–D–E–G–A) omits the fourth and seventh degrees. The blues scale adds a flattened fifth to the minor pentatonic, creating a distinctive ‘blue’ note.
五声音阶（例如 C–D–E–G–A）略去第四和第七级音。布鲁斯音阶在小调五声音阶基础上加入降五级，制造出独特的“蓝调”音。
Whole-tone scales consist entirely of tones (C–D–E–F♯–G♯–A♯), and chromatic scales move entirely by semitones. Both are used to create colour and tension.
全音音阶完全由全音构成（C–D–E–F♯–G♯–A♯），半音音阶则完全按半音进行。两者均用于营造色彩与紧张感。
5. Intervals | 音程
An interval measures the distance in pitch between two notes. Count the letter names to determine the numeric size (2nd, 3rd, 4th, etc.), then assess the quality: perfect (unison, 4th, 5th, octave) or major/minor (2nd, 3rd, 6th, 7th). Augmented intervals are a semitone wider than perfect or major; diminished intervals are a semitone narrower than perfect or minor.
音程衡量两个音之间的音高距离。先数字母名确定数字大小（二度、三度、四度等），然后判断性质：纯音程（同度、四度、五度、八度）或大/小音程（二度、三度、六度、七度）。增音程比纯音程或大音程宽半音；减音程比纯音程或小音程窄半音。
The tritone (augmented 4th or diminished 5th) spans three whole tones and creates strong dissonance. Recognising intervals by ear helps in melodic dictation and score analysis.
三全音（增四度或减五度）跨越三个全音，产生强烈的不协和感。通过听觉识别音程有助于旋律听写和乐谱分析。
| Interval (C to) | Semitones | Quality |
|---|---|---|
| C–D | 2 | Major 2nd |
| C–E♭ | 3 | Minor 3rd |
| C–E | 4 | Major 3rd |
| C–F | 5 | Perfect 4th |
| C–F♯ | 6 | Augmented 4th |
| C–G | 7 | Perfect 5th |
| C–A♭ | 8 | Minor 6th |
| C–A | 9 | Major 6th |
| C–B♭ | 10 | Minor 7th |
| C–B | 11 | Major 7th |
| C–C' | 12 | Perfect Octave |
6. Triad Construction | 三和弦构造
A triad is a three-note chord built by stacking thirds. The root, third and fifth define the chord type. A major triad consists of a major third plus a minor third from the third to the fifth (root–3–5). A minor triad flips the order: minor third plus major third. An augmented triad has two major thirds, and a diminished triad has two minor thirds.
三和弦是由三个音按三度叠置而成的和弦。根音、三音和五音决定和弦种类。大三和弦由根音上方大三度，再从三音往上小三度构成（根–3–5）。小三和弦顺序相反：小三度加大三度。增三和弦包含两个大三度，减三和弦包含两个小三度。
C major: C–E–G C minor: C–E♭–G C diminished: C–E♭–G♭ C augmented: C–E–G♯
C 大三和弦：C–E–G C 小三和弦：C–E♭–G C 减三和弦：C–E♭–G♭ C 增三和弦：C–E–G♯
In a major key, triads built on scale degrees follow this pattern: I major, ii minor, iii minor, IV major, V major, vi minor, vii diminished. In a harmonic minor key the pattern is i minor, ii diminished, III augmented, iv minor, V major, VI major, vii diminished.
在大调中，按音级建立的三和弦模式如下：I 大，ii 小，iii 小，IV 大，V 大，vi 小，vii 减。在和声小调中，模式为：i 小，ii 减，III 增，iv 小，V 大，VI 大，vii 减。
7. Chord Progressions and Cadences | 和弦进行与终止式
A chord progression is a sequence of chords that underpin a piece. Common progressions in AQA Music include I–IV–V–I, I–vi–IV–V, and the 12-bar blues (I–I–I–I–IV–IV–I–I–V–IV–I–I). Cadences close phrases: a perfect cadence moves V–I and sounds final; a plagal cadence moves IV–I and sounds 'Amen'-like; an imperfect cadence ends on V, creating an open feeling; an interrupted cadence moves V–vi, surprising the listener.
和弦进行是为乐曲提供支撑的一连串和弦。AQA 音乐中常见的进行包括 I–IV–V–I、I–vi–IV–V 以及12小节布鲁斯（I–I–I–I–IV–IV–I–I–V–IV–I–I）。终止式收束乐句：正格终止 V–I 听起来完满；变格终止 IV–I 带有“阿门”感；半终止结束在 V 上，制造开放感；阻碍终止 V–vi 带来意外效果。
Perfect: V → I Plagal: IV → I Imperfect: ? → V Interrupted: V → vi
正格终止：V → I 变格终止：IV → I 半终止：? → V 阻碍终止：V → vi
Seventh chords add colour. A dominant seventh (V⁷) consists of a major triad plus a minor seventh above the root. It resolves strongly to the tonic. Diminished seventh and half-diminished chords appear in dramatic harmonic shifts.
七和弦增添色彩。属七和弦 (V⁷) 由大三和弦加根音上方小七度构成，强烈倾向于解决到主和弦。减七和弦和半减和弦则出现在戏剧性和声转换中。
8. Dynamics and Tempo Markings | 力度与速度标记
Italian terms are standard in scores. Learn the core dynamics: 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., growing louder) and diminuendo (dim., growing softer).
乐谱中使用标准的意大利术语。要掌握核心力度：pp（极弱），p（弱），mp（中弱），mf（中强），f（强），ff（极强）。渐变标记包括 cresc.（渐强）和 dim.（渐弱）。
o (moderate), allegro (fast), vivace (lively), presto (very fast). Metronome marks such as ♩ = 120 specify exact beats per minute.
速度标记控制快慢。Largo（宽广，非常慢），adagio（慢），andante（行板），moderato（中板），allegro（快板），vivace（活泼），presto（急板）。节拍器记号如 ♩ = 120 规定了每分钟的精确拍数。
| Term | Meaning | 中文 |
|---|---|---|
| Largo | Very slow and broad | 非常慢的广板 |
| Andante | At a walking pace | 行板 |
| Allegro | Fast, lively | 快板 |
| Ritardando (rit.) | Gradually slowing down | 渐慢 |
| Accelerando (accel.) | Gradually getting faster | 渐快 |
| A tempo | Return to the original speed | 回原速 |
9. Texture and Musical Forms | 织体与曲式
Texture describes how musical lines interact. Monophonic texture (a single unaccompanied melody), homophonic texture (melody plus chordal accompaniment), polyphonic texture (two or more independent melodies woven together), and heterophonic texture (simultaneous variations of a single melody). Melody and accompaniment is the most common homophonic texture in Western tonal music.
织体描述音乐线条如何相互作用。单声部织体（单一无伴奏旋律），主调织体（旋律加和弦伴奏），复调织体（两条或更多独立旋律交织在一起），支声复调（同一旋律的同时变体）。旋律与伴奏是西方调性音乐中最常见的主调织体形式。
Musical forms organise structure. Binary form (AB) features two contrasting sections, often each repeated. Ternary form (ABA) presents a statement, contrast, and return. Rondo form (ABACA) alternates a recurring theme with contrasting episodes. Theme and variations takes a main idea and alters it using techniques such as ornamentation, modulation, and rhythmic change.
曲式为音乐组织提供结构。二段体（AB）包含两个对比乐段，常各自反复。三段体（ABA）呈示、对比、再现。回旋曲式（ABACA）让反复的主题与对比插部交替出现。主题变奏曲式选取一个主要乐思，通过装饰、转调、节奏变化等技巧进行变化。
In vocal music, strophic form uses the same music for each verse, while through-composed form introduces new music throughout to reflect changing lyrics. Look for these in set works.
在声乐作品中，分节歌形式每段歌词使用相同音乐，通谱歌则不断引入新音乐以呼应变化的歌词。在固定作品中要注意分辨这些形式。
10. Common Musical Devices | 常用音乐手法
Devices add character to a composition. Sequence repeats a melodic pattern at a higher or lower pitch; imitation occurs when one part echoes another; ostinato is a persistently repeated musical fragment; pedal (or drone) is a sustained or repeated note, often in the bass; syncopation displaces the natural accent to weak beats. These are frequently tested in listening papers.
这些手法为作品增添特性。模进是将旋律型在更高或更低音高上重复；模仿是一个声部追随另一个声部；固定音型是不断重复的音乐片段；持续音（或长音）是保持或重复的音，通常在低音部；切分音将自然重音转移到弱拍。这些在听力考试中经常被考察。
Ornamentation includes trills (rapid alternation of two notes), turns (a rapid four-note figure around the main note), grace notes (quick, decorative notes before the main note), and mordents (a single rapid alternation with the note above or below). In Baroque and Classical music ornaments follow specific performance rules.
装饰音包括颤音（两个音快速交替）、回音（围绕主要音快速奏出的四个音）、倚音（主要音之前的快速装饰音）和波音（与上方或下方音的一次快速交替）。在巴洛克和古典音乐中，装饰音有特定的演奏规则。
Other important devices: canon (strict imitation), fugato (fugal passage), hemiola (shift from 6/8 grouping to 3/4 feel), and word painting (music reflecting the literal meaning of lyrics). Always link the device to its expressive effect.
其他重要手法：卡农（严格模仿）、赋格段、赫米奥拉比例（从6/8转换为3/4的节拍感觉）以及词语描绘（音乐反映歌词字面意思）。始终要把手法与其表现效果联系起来。
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