📚 Year 11 WJEC Music: Quick Reference Handbook | WJEC 音乐公式定理速查手册
This revision guide distils the core theoretical 'formulas' and rules you need for the Year 11 WJEC Music examination. From note values and intervals to cadences and musical forms, each concept is presented as a clear, memorisable statement. Use it alongside your practical and listening work to cement your understanding of how Western music is constructed.
本速查手册提炼了 Year 11 WJEC 音乐考试所需的核心理论“公式”与规则。从音符时值、音程到终止式和曲式结构，每个概念都以清晰可记的表述呈现。请结合实践与听力练习使用，巩固你对西方音乐构建方式的理解。
1. Note Values & Rests | 音符时值与休止符
Formula: In simple time, each note value is half the duration of the next longer note. Rests correspond exactly to notes of the same name.
公式：在单拍子中，每个音符的时值是下一个较长音符的一半。休止符与同名音符的时值完全对应。
| English term | Note / Rest | 中文 | Duration (in crotchet beats) |
|---|---|---|---|
| Semibreve / Whole note | 𝅝 / 𝄻 | 全音符 / 全体止符 | 4 |
| Minim / Half note | 𝅗𝅥 / 𝄼 | 二分音符 / 二分休止符 | 2 |
| Crotchet / Quarter note | 𝅘𝅥 / 𝄽 | 四分音符 / 四分休止符 | 1 |
| Quaver / Eighth note | 𝅘𝅥𝅮 / 𝄾 | 八分音符 / 八分休止符 | 1/2 |
| Semiquaver / Sixteenth note | 𝅘𝅥𝅯 / 𝄿 | 十六分音符 / 十六分休止符 | 1/4 |
Dotted note rule: A dot adds half the value of the note it follows. Dotted minim = 3 crotchet beats.
附点规则：附点增加其前面音符时值的一半。附点二分音符 = 3个四分音符时值。
2. Time Signatures | 拍号
A time signature consists of two numbers: the upper shows how many beats per bar, the lower shows the type of note that gets one beat.
拍号由两个数字组成：上方数字表示每小节拍数，下方数字表示以何种音符为一拍。
Simple time: beats divide into 2. e.g. 2/4, 3/4, 4/4 (C), 2/2 (cut time).
单拍子：每拍可均分为2等份。如 2/4, 3/4, 4/4 (C), 2/2 (cut time)。
Compound time: s : beats divide into 3. Upper number is 6, 9 or 12. e.g. 6/8 = two dotted-crotchet beats per bar.
复拍子：每拍可均分为3等份。上方数字为6、9或12。例如 6/8 = 每小节两个附点四分音符拍。
Irregular time: beats cannot be grouped into equal 2s or 3s, e.g. 5/4, 7/8.
混合拍子：拍子不能均分为若干相等的2或3组，如 5/4, 7/8。
3. Key Signatures & the Circle of Fifths | 调号与五度圈
Order of sharps: F C G D A E B. (Father Charles Goes Down And Ends Battle)
升号顺序：F C G D A E B（发 朵 索 来 拉 米 西）。
Order of flats: B E A D G C F. (Battle Ends And Down Goes Charles' Father)
降号顺序：B E A D G C F（西 米 拉 来 索 朵 发）。
Major key formula (semitones): W W H W W W H (W = whole tone, H = semitone).
大调音阶公式（半音）：全 全 半 全 全 全 半。
Natural minor: W H W W H W W (Aeolian mode). Use key signature of relative major (3 semitones up).
自然小调：全 半 全 全 半 全 全（爱奥利亚调式）。使用关系大调的调号（向上小三度）。
Harmonic minor: raise 7th degree by a semitone. Produces an augmented 2nd between 6th and 7th.
和声小调：升高第VII级半音。在第VI级与第VII级间产生增二度。
Melodic minor (ascending): raise 6th and 7th; descending often natural.
旋律小调（上行）：升高第VI、VII级；下行常还原自然小调。
4. Intervals: Counting Semitones | 音程：半音计数
An interval is the distance between two pitches, measured in semitones. The 'quality' (major, minor, perfect, augmented, diminished) depends on the number of semitones and the letter names.
音程是两个音高之间的距离，以半音为单位。其性质（大、小、纯、增、减）取决于半音数与音名级数。
th = 7, Minor 6th = 8, Major 6th = 9, Minor 7th = 10, Major 7th = 11, Perfect Octave = 12.
纯一度 = 0 半音，小二度 = 1，大二度 = 2，小三度 = 3，大三度 = 4，纯四度 = 5，增四度/减五度 = 6，纯五度 = 7，小六度 = 8，大六度 = 9，小七度 = 10，大七度 = 11，纯八度 = 12。
Inversion rule: Sum of interval sizes = 9. Major becomes minor, perfect remains perfect.
转位规则：原位与转位的度数之和为9。大变小，小变大，纯仍为纯。
5. Chords & Triads | 和弦与三和弦
A triad is a stack of three notes built from a root. The quality is determined by the intervals above the root.
三和弦是由根音上叠置三个音构成的和弦。其性质由根音上方的音程决定。
Major triad: root + 4 semitones (major 3rd) + 3 semitones (perfect 5th).
大三和弦：根音 + 4半音（大三度）+ 3半音（纯五度）。
Minor triad: root + 3 semitones (minor 3rd) + 4 semitones (perfect 5th).
小三和弦：根音 + 3半音（小三度）+ 4半音（纯五度）。
Diminished triad: root + 3 + 3 (minor 3rd, diminished 5th).
减三和弦：根音 + 3 + 3（小三度，减五度）。
Augmented triad: root + 4 + 4 (major 3rd, augmented 5th).
增三和弦：根音 + 4 + 4（大三度，增五度）。
Chord inversions (C major): Root position (C–E–G), 1st inversion (E–G–C), 2nd inversion (G–C–E). Roman numerals followed by 'b' or 'c'.
和弦转位（以C大调为例）：原位（C–E–G），第一转位（E–G–C），第二转位（G–C–E）。罗马数字后加 'b' 或 'c' 标记。
6. Cadences | 终止式
Cadences are the punctuation marks of music, creating a sense of closure or continuation at phrase ends.
终止式是音乐的标点符号，在乐句结尾制造收束感或延续感。
Perfect cadence: V → I. Sounds complete, final. (e.g. G → C in C major)
正格终止：V → I。听感完满、结束。（如C大调中 G → C）
Plagal cadence: IV → I. 'Amen' cadence, softer ending. (F → C)
变格终止：IV → I。“阿门”终止，较柔和的结束。（F → C）
Imperfect cadence: I, II, IV → V. Sounds unfinished, expects continuation.
不完全终止：I、II、IV → V。听感未完成，期待继续。
Interrupted cadence: V → vi. Surprise, deceptive. (G → Am in C major)
阻碍终止：V → vi。意外，欺诈性。（C大调中 G → Am）
7. Chord Progressions & Roman Numerals | 和弦进行与罗马数字标记
s indicate chords built on each degree of the scale. Uppercase = major, lowercase = minor.
罗马数字表示建立在音阶各级上的和弦。大写 = 大和弦，小写 = 小和弦。
Diatonic triads in C major: I (C), ii (Dm), iii (Em), IV (F), V (G), vi (Am), vii° (B dim).
C大调自然三和弦：I (C), ii (Dm), iii (Em), IV (F), V (G), vi (Am), vii° (B减三)。
Common progression patterns: I–IV–V–I, I–V–vi–IV (pop), ii–V–I (jazz).
常见进行模式：I–IV–V–I，I–V–vi–IV（流行），ii–V–I（爵士）。
Dominant 7th: V7. Adds a minor 7th above root (e.g. G–B–D–F). Resolves strongly to I.
属七和弦：V7。根音上方加小七度（如 G–B–D–F），强力解决到 I。
8. Tempo, Dynamics & Articulation | 速度、力度与演奏法
Tempo markings (slow to fast): Lento, Adagio, Andante, Moderato, Allegro, Vivace, Presto.
速度标记（由慢至快）：Lento 慢板，Adagio 柔板，Andante 行板，Moderato 中板，Allegro 快板，Vivace 活泼的，Presto 急板。
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: crescendo (cresc.) / diminuendo (dim.).
力度记号：pp 很弱，p 弱，mp 中弱，mf 中强，f 强，ff 很强。渐变：crescendo (cresc.)渐强 / diminuendo (dim.)渐弱。
Articulation: Staccato (detached, short), Legato (smooth, connected), Accent (> strongly attacked), Tenuto (held, slight stress).
演奏法：Staccato 断奏（短促分离），Legato 连奏（平滑连接），Accent 重音（> 强击），Tenuto 保持音（稍加强调）。
9. Ornaments | 装饰音
Ornaments are musical flourishes that decorate the main note. They are written using specific symbols or small notes.
装饰音是装饰主要音符的音乐花音，通过特定符号或小音符记写。
Trill (tr): rapid alternation between the written note and the note above.
颤音 (tr)：在本音与上方二度音之间快速交替。
Turn (𝄐): note above, written note, note below, written note.
回音 (𝄐)：上方音–本音–下方音–本音。
Mordent (upper 𝄞): written note, upper note, return. Lower mordent (𝄟) goes to lower note.
波音（上波音 𝄞）：本音–上方音–本音。下波音（𝄟）加一小竖线，走向下方音。
Appoggiatura: a dissonant note that leans on the main note, taking half its value.
倚音：不协和音倚靠到主音，通常占主音一半时值。
Acciaccatura: a crushed note, played very quickly before the main note (with a stroke through the stem).
碎音：短倚音，在主音前极快地奏出（符干带斜线）。
10. Musical Forms & Structures | 曲式与结构
Understanding common forms helps you describe how a piece is organised in the WJEC appraising exam.
理解常见曲式有助于你在 WJEC 评估考试中描述作品的组织方式。
Binary (AB): two contrasting sections, often each repeated. Common in Baroque dances.
二段体 (AB)：两个对比乐段，常各自反复。常见于巴洛克舞曲。
Ternary (ABA): return of the opening material after a contrasting middle. Minuet and Trio follows this pattern.
三段体 (ABA)：对比中段后回归首段材料。小步舞曲与三声中部按此模式。
Rondo (ABACA): a recurring main theme alternates with contrasting episodes.
回旋曲 (ABACA)：反复出现的主部主题与对比插部交替。
Theme & Variations: a theme is presented then altered in successive variations (melody, rhythm, harmony, texture, tonality).
主题与变奏：先呈示主题，随后在后续变奏中改变旋律、节奏、和声、织体、调性等。
Sonata form: Exposition (first subject, transition, second subject), Development, Recapitulation. Often with coda.
奏鸣曲式：呈示部（第一主题、连接部、第二主题）、展开部、再现部。常带尾声。
Strophic: same music for every verse. Through-composed: continuous new music.
分节歌：每段歌词使用相同音乐。通谱歌：持续出现新的音乐材料。
11. Texture & Melodic Devices | 织体与旋律手法
Texture describes how many layers are heard and how they relate.
织体描述有多少层次被听到以及它们之间的关系。
Monophonic: a single melodic line, unaccompanied.
单声织体：单一旋律线条，无伴奏。
Homophonic: melody with chordal accompaniment; all parts move in similar rhythm.
主调织体：旋律加和弦伴奏；所有声部节奏相似。
Polyphonic: two or more independent melodic lines woven together (contrapuntal).
复调织体：两个或以上独立旋律线条相互交织（对位法）。
Imitation: a melody in one part is repeated soon after by another. Canon and fugue are strict forms.
模仿：一个声部的旋律不久后被另一声部重复。卡农与赋格是严格的模仿形式。
Sequence: a melodic pattern repeated at a higher or lower pitch.
模进：旋律模式在更高或更低音高上重复。
Pedal / Drone: a sustained or repeated note, usually in the bass, over which harmonies change.
持续音 / 长音：持续或重复的音，通常在低音部，上方和声变化。
12. Common Harmonic Devices & Score Directions | 常见和声手法与乐谱指示
WJEC questions often test recognition of these devices in a score.
WJEC 试题常考察对乐谱中以下手法的识别。
Tierce de Picardie: a minor key piece ends with a major tonic chord (raised 3rd).
辟卡迪三度：小调作品以升高三音的大主和弦结束。
Circle of 5ths progression: roots move down by a 5th each time, e.g. Em–Am–Dm–G–C.
五度圈进行：根音每次下行五度，如 Em–Am–Dm–G–C。
Alberti bass: broken chord pattern: low, high, middle, high.
阿尔贝蒂低音：分解和弦模式：低–高–中–高。
Modal mixture: borrowing chords from the parallel minor/major.
调式交替：借用同主音小调/大调的和弦。
Con pedale / senza pedale: use of sustain pedal / without pedal.
Con pedale / senza pedale：使用延音踏板 / 不用踏板。
Octave signs: 8va (play an octave higher), 8vb (octave lower), loco (return to written pitch).
八度记号：8va 高八度演奏，8vb 低八度，loco 恢复记谱音高。
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