📚 Year 8 AQA Music: Formula & Theorem Quick Reference Handbook | Year 8 AQA 音乐：公式定理速查手册
Music may not have equations like maths, but it is full of patterns and rules that act like ‘formulas’. These structures govern rhythm, pitch, scales, chords, and form. This quick reference handbook collects the essential music theory ‘formulas’ you need for Year 8 AQA Music, presented clearly and paired with practical examples.
音乐虽然不像数学那样有方程式，但充满了像’公式’一样的模式和规则。这些结构支配着节奏、音高、音阶、和弦与曲式。本速查手册汇集了 Year 8 AQA 音乐所需的核心乐理 ‘公式’，配以清晰的实例，助你便捷复习。
1. Note Values and Rests | 音符时值与休止符
Each note value has a rest of equivalent duration. The basic proportional relationship forms a ‘family tree’: 1 semibreve = 2 minims = 4 crotchets = 8 quavers = 16 semiquavers. Rests follow exactly the same divisions.
每个音符时值都有对应时长的休止符。基本的比例关系构成一个’家族树’：1 个全音符 = 2 个二分音符 = 4 个四分音符 = 8 个八分音符 = 16 个十六分音符。休止符遵循完全相同的划分。
| English Name | 中文名称 | Relative Value |
|---|---|---|
| Semibreve | 全音符 | 4 beats |
| Minim | 二分音符 | 2 beats |
| Crotchet | 四分音符 | 1 beat |
| Quaver | 八分音符 | ½ beat |
| Semiquaver | 十六分音符 | ¼ beat |
2. Dotted Notes and Ties | 附点音符与连音线
A dot placed after a note head increases its duration by half of its original value. The formula: Dotted Note = Original Value + (½ × Original Value). For example, a dotted crotchet = 1 + ½ = 1½ beats. A tie is a curved line connecting two notes of the same pitch, summing their durations without re-articulating the second note.
附点置于符头后，将音符时值增加原时值的一半。公式：附点音符 = 原时值 + (½ × 原时值)。例如，附点四分音符 = 1 + ½ = 1½ 拍。连音线是一条连接两个相同音高音符的弧线，将它们的时值相加，第二个音不重新奏出。
3. Time Signatures | 拍号
A time signature tells you how many beats are in each bar and what note value gets one beat. It looks like a fraction: Top number = beats per bar; Bottom number = type of note that equals one beat (4 = crotchet, 8 = quaver). Common time (4/4) has four crotchet beats. Compound time (e.g., 6/8) groups beats into dotted crotchets, felt as two main beats.
拍号告诉你每小节有几拍，以及什么音符为一拍。它看起来像一个分数：上方数字 = 每小节的拍数；下方数字 = 以什么音符为一拍（4 = 四分音符，8 = 八分音符）。常用拍（4/4）有四个四分音符拍。复拍子（如 6/8）以附点四分音符为拍子分组，通常感受为两大拍。
| Time Signature | Beats per bar | Beat note | Type |
|---|---|---|---|
| 4/4 | 4 | Crotchet | Simple Quadruple |
| 3/4 | 3 | Crotchet | Simple Triple |
| 6/8 | 6 quavers (2 dotted crotchet pulses) | Quaver | Compound Duple |
4. Clefs and Pitch | 谱号与音高
The treble clef (G clef) fixes the second line as G above middle C. Lines (bottom to top): E, G, B, D, F – remembered with ‘Every Good Boy Deserves Football’. Spaces: F, A, C, E – spelling FACE. The bass clef (F clef) fixes the fourth line as F below middle C. Lines: G, B, D, F, A – ‘Great Big Dogs Fight Animals’. Spaces: A, C, E, G – ‘All Cows Eat Grass’.
高音谱号（G 谱号）将第二线固定为中央 C 上方的 G。线（从下往上）：E, G, B, D, F —— 记忆为 ‘Every Good Boy Deserves Football’。间：F, A, C, E —— 拼成 FACE。低音谱号（F 谱号）将第四线固定为中央 C 下方的 F。线：G, B, D, F, A —— ‘Great Big Dogs Fight Animals’。间：A, C, E, G —— ‘All Cows Eat Grass’。
5. Major Scales Formula | 大调音阶公式
Every major scale follows the same pattern of tones (T) and semitones (S): T, T, S, T, T, T, S. Begin on any note and apply this sequence to build the scale. Example in C major: C–D (T), D–E (T), E–F (S), F–G (T), G–A (T), A–B (T), B–C (S). No sharps or flats are needed in C major.
每个大调音阶都遵循相同的全音（T）和半音（S）模式：全、全、半、全、全、全、半。从任何一个音开始，按此序列构建音阶。以 C 大调为例：C–D (全), D–E (全), E–F (半), F–G (全), G–A (全), A–B (全), B–C (半)。C 大调不需要任何升、降号。
6. Minor Scales Formula (Natural Minor) | 自然小调音阶公式
The natural minor scale uses the pattern: T, S, T, T, S, T, T. For A natural minor: A–B (T), B–C (S), C–D (T), D–E (T), E–F (S), F–G (T), G–A (T). A minor is the relative minor of C major, sharing the same key signature (no sharps/flats).
自然小调音阶的模式为：全、半、全、全、半、全、全。以 a 自然小调为例：A–B (全), B–C (半), C–D (全), D–E (全), E–F (半), F–G (全), G–A (全)。a 小调是 C 大调的关系小调，共享相同的调号（无升降号）。
7. Intervals | 音程
An interval measures the distance between two notes. Count the letter names for the number (2nd, 3rd, 4th, etc.). The quality is determined by the number of semitones. Perfect intervals: unison (0), 4th (5 semitones), 5th (7 semitones), octave (12). Major 2nd = 2 semitones, minor 2nd = 1. Major 3rd = 4, minor 3rd = 3. Major 6th = 9, minor 6th = 8. Major 7th = 11, minor 7th = 10.
音程衡量两个音之间的距离。按音名字母数出度数（二度、三度等），而性质由所含半音数决定。纯音程：纯一度 (0)、纯四度 (5 个半音)、纯五度 (7 个半音)、纯八度 (12)。大二度 = 2 个半音，小二度 = 1。大三度 = 4，小三度 = 3。大六度 = 9，小六度 = 8。大七度 = 11，小七度 = 10。
8. Chords (Triads) | 和弦（三和弦）
A triad is a three‑note chord stacked in thirds. Formula: Root + 3rd + 5th. Major triad = Root + major 3rd (4 semitones) + perfect 5th (7 semitones). Minor triad = Root + minor 3rd (3 semitones) + perfect 5th (7 semitones). Example: C major = C–E–G; A minor = A–C–E. Diminished triad = minor 3rd + diminished 5th (6 semitones); Augmented triad = major 3rd + augmented 5th (8 semitones).
三和弦是由三个音按三度叠置构成的和弦。公式：根音 + 三音 + 五音。大三和弦 = 根音 + 大三度 (4 个半音) + 纯五度 (7 个半音)。小三和弦 = 根音 + 小三度 (3 个半音) + 纯五度 (7 个半音)。例子：C 大三 = C–E–G；a 小三 = A–C–E。减三和弦 = 小三度 + 减五度 (6 个半音)；增三和弦 = 大三度 + 增五度 (8 个半音)。
9. Cadences | 终止式
Cadences are two‑chord formulas that end a musical phrase. Perfect cadence: V → I, sounds final and resolved. Plagal cadence: IV → I, known as the ‘Amen’ cadence. Imperfect cadence: ends on V (e.g., I–V, ii–V), sounds unfinished. Interrupted cadence: V → vi, a surprise deflection. These patterns work in both major and minor keys (using chords built from the scale).
终止式是结束乐句的两个和弦的公式。正格终止：V → I，听感完满解决。变格终止：IV → I，常被称为’阿门’终止。半终止：停在 V 上（如 I–V、ii–V），听感未完成。阻碍终止：V → vi，意外的转折。这些模式在大调和小调中均适用（使用音阶内的和弦）。
10. Dynamics and Tempo Markings | 力度与速度标记
Dynamics indicate loudness: 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: cresc. (crescendo) getting louder; dim. or decresc. (diminuendo) getting softer. Tempo terms: Largo (very slow), Adagio (slow), Andante (walking pace), Moderato (moderate), Allegro (fast), Presto (very fast).
力度标记表示响度：pp (很弱)、p (弱)、mp (中弱)、mf (中强)、f (强)、ff (很强)。渐变标记：cresc. (渐强)；dim. 或 decresc. (渐弱)。速度术语：Largo (广板，很慢)、Adagio (柔板)、Andante (行板)、Moderato (中板)、Allegro (快板)、Presto (急板，很快)。
11. Structure and Form | 结构与曲式
Musical structure is the overall plan of a piece. Binary form (AB) has two contrasting sections, each usually repeated. Ternary form (ABA) presents a main idea, a contrasting section, then a return of the opening. Rondo form (ABACA, etc.) has a recurring A section alternating with contrasting episodes. Theme and Variations presents a melody followed by altered versions (tempo, key, rhythm, harmony).
音乐结构是一部作品的整体布局。二段体（AB）有两个对比的乐段，通常各自反复。三段体（ABA）呈现主题、对比段落，然后回到开头。回旋曲式（ABACA 等）有一个反复出现的 A 段，与对比的插部交替。主题与变奏呈现一个旋律，随后是各种变体（速度、调性、节奏、和声）。
12. Key Signatures | 调号
A key signature is the pattern of sharps or flats at the beginning of a stave, indicating the key of the music. Order of sharps: F♯, C♯, G♯, D♯, A♯, E♯, B♯ – remembered by ‘Father Charles Goes Down And Ends Battle’. Order of flats: B♭, E♭, A♭, D♭, G♭, C♭, F♭ – ‘Battle Ends And Down Goes Charles’ Father’. Every major key has a relative minor starting a minor third (3 semitones) lower, sharing the same key signature.
调号是五线谱开始处的一组升号或降号，表明音乐的调性。升号顺序：F♯, C♯, G♯, D♯, A♯, E♯, B♯ —— 记忆为 ‘Father Charles Goes Down And Ends Battle’。降号顺序：B♭, E♭, A♭, D♭, G♭, C♭, F♭ —— ‘Battle Ends And Down Goes Charles’ Father’。每个大调都有一个关系小调，低一个小三度（3 个半音），共享相同的调号。
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