Year 10 OCR Music Formula & Theorem Quick Reference Handbook | Year 10 OCR 音乐公式定理速查手册

📚 Year 10 OCR Music Formula & Theorem Quick Reference Handbook | Year 10 OCR 音乐公式定理速查手册

This handbook gathers the essential ‘formulas’ and theoretical rules you will encounter in the Year 10 OCR Music course — from scale construction and chord progressions to rhythmic patterns and structural blueprints. Treat these building blocks as your musical equations: once memorised, they unlock performance, composition and appraising tasks with confidence.

本手册汇集了 Year 10 OCR 音乐课程中你必须掌握的基本“公式”和理论规则——从音阶构建、和弦进行到节奏模式和结构蓝图。把这些构建模块当作你的音乐方程式：一旦熟记，它们就能让你在演奏、创作和鉴赏任务中充满信心。

1. Major Scale Formula | 大调音阶公式

The major scale always follows the pattern of tones (T) and semitones (S): T T S T T T S. Starting on any note, apply this sequence to produce a correct major scale. For example, C major: C–D (T), D–E (T), E–F (S), F–G (T), G–A (T), A–B (T), B–C (S).

大调音阶始终遵循全音（T）和半音（S）的模式：全全半全全全半。从任何一个音开始，应用这个序列就能生成正确的大调音阶。例如 C 大调：C–D（全音），D–E（全音），E–F（半音），F–G（全音），G–A（全音），A–B（全音），B–C（半音）。

Key signatures for major keys follow the circle of fifths. Sharp keys: Father Charles Goes Down And Ends Battle (F♯, C♯, G♯, D♯, A♯, E♯, B♯). Flat keys: Battle Ends And Down Goes Charles’ Father (B♭, E♭, A♭, D♭, G♭, C♭, F♭).

大调的调号遵循五度圈规律。升号调顺序：Father Charles Goes Down And Ends Battle（F♯、C♯、G♯、D♯、A♯、E♯、B♯）。降号调顺序：Battle Ends And Down Goes Charles’ Father（B♭、E♭、A♭、D♭、G♭、C♭、F♭）。

2. Minor Scale Formulas | 小调音阶公式

Natural minor (Aeolian mode): T S T T S T T. Using A minor as the relative minor of C major, the pattern is A–B (T), B–C (S), C–D (T), D–E (T), E–F (S), F–G (T), G–A (T).

自然小调（爱奥利亚调式）：全半全全半全全。以 C 大调的关系小调 A 小调为例，模式为 A–B（全音），B–C（半音），C–D（全音），D–E（全音），E–F（半音），F–G（全音），G–A（全音）。

Harmonic minor: raise the 7th degree by a semitone, creating a distinctive augmented 2nd between the 6th and 7th notes. A harmonic minor: A B C D E F G♯ A.

和声小调：将第七级音升高半音，从而在第六级和第七级之间形成一个增二度的特色音程。A 和声小调：A B C D E F G♯ A。

Melodic minor (ascending): raise the 6th and 7th degrees. Descending: revert to natural minor. A melodic minor ascending: A B C D E F♯ G♯ A; descending: A G F E D C B A.

旋律小调（上行）：升高第六级和第七级音。下行：还原为自然小调。A 旋律小调上行：A B C D E F♯ G♯ A；下行：A G F E D C B A。

3. Interval Quick Reference | 音程速查表

Intervals are measured by the number of letter names and the number of semitones. Use this table for the most common intervals:

音程由音名的数量和半音数量来度量。以下表格列出最常用的音程：

Interval Name (英)	音程名称 (中)	Semitones	Example (C to …)
Perfect Unison	纯一度	0	C–C
Minor 2nd	小二度	1	C–D♭
Major 2nd	大二度	2	C–D
Minor 3rd	小三度	3	C–E♭
Major 3rd	大三度	4	C–E
Perfect 4th	纯四度	5	C–F
Augmented 4th / Diminished 5th (Tritone)	增四度 / 减五度（三全音）	6	C–F♯ / C–G♭
Perfect 5th	纯五度	7	C–G
Minor 6th	小六度	8	C–A♭
Major 6th	大六度	9	C–A
Minor 7th	小七度	10	C–B♭
Major 7th	大七度	11	C–B
Perfect Octave	纯八度	12	C–C

In the OCR exam, you must be able to identify intervals by ear and from notation. Remember: the quality (major/minor/perfect) plus the number gives the full interval name.

在 OCR 考试中，你必须能够通过听觉和乐谱识别音程。记住：性质（大/小/纯）加上度数构成完整的音程名称。

4. Triad Construction Formula | 三和弦构建公式

A triad is formed by stacking two thirds on top of a root. The formula is simple: root + 3rd + 5th.

三和弦是在根音上叠加两个三度音而构成。公式很简单：根音 + 三音 + 五音。

Major triad: root + major 3rd (4 semitones) + perfect 5th (7 semitones from root). Example: C–E–G.

大三和弦：根音 + 大三度（4 个半音） + 纯五度（距根音 7 个半音）。示例：C–E–G。

Minor triad: root + minor 3rd (3 semitones) + perfect 5th. Example: A–C–E.

小三和弦：根音 + 小三度（3 个半音） + 纯五度。示例：A–C–E。

Diminished triad: root + minor 3rd + diminished 5th (6 semitones from root). Example: B–D–F.

减三和弦：根音 + 小三度 + 减五度（距根音 6 个半音）。示例：B–D–F。

Augmented triad: root + major 3rd + augmented 5th (8 semitones from root). Example: C–E–G♯.

增三和弦：根音 + 大三度 + 增五度（距根音 8 个半音）。示例：C–E–G♯。

5. Seventh Chord Recipes | 七和弦的配方

To turn a triad into a 7th chord, add a 7th above the root. The quality of the 7th changes the chord type:

要把三和弦变成七和弦，只需在根音上方加上一个七度音。七度音的性质决定了和弦类型：

Major 7th (Maj7): major triad + major 7th (11 semitones). Cmaj7 = C–E–G–B. / 大七和弦：大三和弦 + 大七度（11 个半音）。
Dominant 7th (7): major triad + minor 7th (10 semitones). G7 = G–B–D–F. / 属七和弦：大三和弦 + 小七度（10 个半音）。
Minor 7th (m7): minor triad + minor 7th. Am7 = A–C–E–G. / 小七和弦：小三和弦 + 小七度。
Half-diminished 7th (m7♭5): diminished triad + minor 7th. Bm7♭5 = B–D–F–A. / 半减七和弦：减三和弦 + 小七度。
Diminished 7th (dim7): diminished triad + diminished 7th (9 semitones). Bdim7 = B–D–F–A♭. / 减七和弦：减三和弦 + 减七度（9 个半音）。

These chords are vital in the analysis of Western classical harmony and jazz-influenced pieces on the OCR syllabus.

这些和弦在分析 OCR 考纲中的西方古典和声和受爵士乐影响的作品时至关重要。

6. Cadence Formulas | 终止式公式

Cadences are musical punctuation marks. Learn these four core progressions:

终止式是音乐中的标点符号。请熟记以下四种核心进行：

Perfect cadence (V–I): sounds final, complete. G major → C major in C major key. / 正格终止（V–I）：听感完满、结束。C 大调中 G 大和弦 → C 大和弦。
Plagal cadence (IV–I): ‘Amen’ cadence, softer resolution. F major → C major. / 变格终止（IV–I）：“阿们”终止，较柔和的解决。F 大和弦 → C 大和弦。
Imperfect cadence (I–V, ii–V, IV–V): ends on V, sounds unfinished. C → G, or Dm → G. / 半终止（I–V、ii–V、IV–V）：结束在 V 级上，听感未完成。如 C → G，或 Dm → G。
Interrupted cadence (V–vi): a surprise; the ear expects I but gets vi. G → Am in C major. / 阻碍终止（V–vi）：意外；耳朵期待 I 级却听到 vi 级。C 大调中 G → Am。

In the appraising paper, you will be asked to identify cadences at the ends of phrases. Listen for the bass movement and the sense of resolution.

在鉴赏试卷中，你会被要求识别乐句末尾的终止式。注意聆听低音声部的进行以及解决的感觉。

7. Common Chord Progression ‘Equations’ | 常用和弦进行“方程式”

Many Western tonal pieces rely on predictable harmonic sequences. These patterns are like formulaic equations:

许多西方调性作品依赖可预测的和声序列。这些模式就像公式化的方程式：

I – IV – V – I (primary triad progression). / 主和弦–下属和弦–属和弦–主和弦（正三和弦进行）。
I – vi – IV – V (1950s progression, used in pop). / 1950 年代流行乐常用进行。
ii – V – I (essential jazz and classical cadential formula). / 爵士乐和古典终止式中必不可少的公式。
Circle of 5ths progression: iii – vi – ii – V – I (chains of descending 5ths). / 五度圈进行：iii – vi – ii – V – I（连续下行五度链）。
12-bar blues formula: I | I | I | I7 | IV | IV | I | I | V | IV | I | V. / 12 小节布鲁斯公式。

Recognising these sequences by ear and on the score will speed up your analysis of set works and unfamiliar listening.

通过听觉和乐谱识别这些序列，能让你在分析指定作品和陌生曲目时速度更快。

8. Rhythm and Metre Formulas | 节奏与节拍公式

Time signatures can be thought of as rhythmic equations. The top number tells you how many beats per bar; the bottom number indicates the beat unit.

拍号可以看作是节奏的方程式。上方数字表示每小节有几拍，下方数字表示以何种音符为一拍。

Simple time: each beat divides into two equal parts. Examples: 2/4, 3/4, 4/4. Compound time: each beat divides into three equal parts (dotted beat). Examples: 6/8 (two dotted-crotchet beats), 9/8, 12/8.

单拍子：每拍可均分为两部分。例如 2/4、3/4、4/4。复拍子：每拍可均分为三部分（附点拍）。例如 6/8（两拍附点四分音符）、9/8、12/8。

Be able to identify swing rhythms, syncopation, hemiola, and cross-rhythms. A hemiola gives the illusion of 2/4 within 3/4 by accenting alternate beats.

要能识别摇摆节奏、切分音、希米奥拉和交错节奏。希米奥拉通过在 3/4 拍中强调交替的拍点，制造出 2/4 拍的错觉。

9. Melodic Development Techniques | 旋律发展手法公式

Composers use specific formulaic techniques to develop melodic ideas. These are often examined in the context of set works and composition tasks:

作曲家运用特定的公式化手法来发展旋律素材。这些手法在指定作品和创作题目中经常被考查：

Sequence: repeating a melodic fragment at a higher or lower pitch. / 模进：将旋律片段在更高或更低的音高上重复。
Imitation: one part copies another shortly afterwards. / 模仿：一个声部在较短时间内模仿另一声部。
Ostinato: a persistently repeated musical pattern (melodic, rhythmic, or harmonic). / 固定音型：持续重复的旋律、节奏或和声音型。
Augmentation/Diminution: lengthening or shortening the note values of a theme. / 扩张与缩减：延长或缩短主题的音符时值。
Inversion: turning the melody upside down (intervals go in the opposite direction). / 倒影：将旋律上下颠倒（音程反向进行）。
Retrograde: playing the melody backwards. / 逆行：反向演奏旋律。

Each technique acts like a transformation rule that can be applied to any motif.

每种手法就如同一个可应用于任何动机的转换规则。

10. Structure Blueprints | 结构蓝图

Musical structures can also be treated as formulas. Here are the standard templates you must know for OCR:

音乐结构也可以被视为公式。以下是 OCR 考纲必须掌握的标准模板：

Binary form (AB): two contrasting sections, often repeated (AABB). / 二段体（AB）：两个对比乐段，常各自反复（AABB）。
Ternary form (ABA): a statement, a contrast, and a return. / 三段体（ABA）：呈示、对比与再现。
Rondo form (ABACA): a recurring A section alternating with contrasting episodes. / 回旋曲式（ABACA）：不断回归的 A 段与对比插部交替。
Theme and variations: a theme (A) followed by altered versions (A¹, A², A³ …). / 主题与变奏：主题（A）后跟随若干变体（A¹、A²、A³……）。
Strophic form: same music for each verse (common in folk and pop songs). / 分节歌形式：每段歌词配以相同的音乐（常见于民歌和流行歌曲）。
Sonata form (exposition – development – recapitulation): a large-scale structure used in first movements of Classical symphonies. / 奏鸣曲式（呈示部 – 展开部 – 再现部）：古典交响曲第一乐章常用的大结构。

When listening, map the sections using letters and note key changes, texture contrasts and melodic transformations.

在聆听时，用字母标记段落，并留意调性变化、织体对比和旋律变形。

11. Dynamics and Expression Equations | 力度与表情符号速查

Dynamics follow a relative scale, like a numerical formula from very quiet to very loud:

力度遵循一个相对刻度，就像一个从极弱到极强的数字公式：

pp (pianissimo) – very quiet / 很弱 → p (piano) – quiet / 弱 → mp (mezzo-piano) – moderately quiet / 中弱 → mf (mezzo-forte) – moderately loud / 中强 → f (forte) – loud / 强 → ff (fortissimo) – very loud / 很强。

Gradual changes: crescendo (cresc.) gradually getting louder; diminuendo (dim.) or decrescendo (decresc.) gradually getting softer. Sforzando (sfz) is a sudden strong accent.

渐强（crescendo 缩写 cresc.）表示逐渐变强；渐弱（diminuendo 缩写 dim. 或 decrescendo 缩写 decresc.）表示逐渐变弱。特强（sfz）标记表示突强重音。

Articulation marks also act as precise instructions: staccato ( . ) means short and detached; legato (slur, curved line) means smooth; accents ( > ) mean stressed attack; tenuto ( – ) means held or sustained.

演奏法记号也如同精确的操作指令：断奏（ . ）表示短促而分离；连奏（连线）表示圆滑流畅；重音（ > ）表示强奏强调；保持音（ – ）表示充分保持时值。

12. Texture and Timbre Identification Rules | 织体与音色识别法则

Texture describes how many layers of sound are heard at once and how they relate. The main texture types can be learned as clear definitions:

织体描述同一时间内听到的声音层数以及它们之间的关系。主要的织体类型可作为清晰的定义来学习：

Monophonic: a single unaccompanied melodic line (solo or unison). / 单声部织体：单一的无伴奏旋律线（独奏或齐奏）。
Homophonic: melody with accompaniment; all parts move in similar rhythm (e.g., hymn). / 主调织体：带伴奏的旋律；各声部节奏相似（如赞美诗）。
Polyphonic/Contrapuntal: two or more independent melodic lines woven together. / 复调织体：两条或以上独立的旋律线交织在一起。
Heterophonic: simultaneous variations of a single melody (common in folk traditions). / 支声织体：同一旋律的同时变奏（常见于民间传统）。
Doubling: a melody played in octaves or by multiple instruments at the same pitch. / 八度重复/同度重叠：旋律以八度或多个乐器在同度演奏。

Timbre refers to the unique tone colour of an instrument or voice. In the exam, describe timbre using words like bright, dark, nasal, breathy, reedy, mellow, strident, percussive.

音色指乐器或人声特有的声音色彩。在考试中，用明亮、暗淡、鼻音重、气息声、簧片声、圆润、尖锐、打击乐般等词语来描述音色。

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Year 10 OCR Music Formula & Theorem Quick Reference Handbook | Year 10 OCR 音乐公式定理速查手册