📚 Year 11 Eduqas Music: Quick-Reference Formulas & Principles | Eduqas音乐公式定理速查手册
This article compiles essential formulas, rules, and theoretical principles needed for the Year 11 Eduqas GCSE Music examination. From scale construction to harmonic cadences, these quick-reference tables and rules will help you memorise and apply key concepts under timed conditions.
本文汇编了Eduqas GCSE音乐考试所需的基本公式、规则和理论原理。从音阶构建到和声终止式，这些速查表格与法则将帮助你高效记忆并灵活运用核心概念。
1. Note Values and Rhythmic Formulas | 音符时值与节奏公式
In 4/4 time, a semibreve (whole note) lasts 4 beats. A minim (half note) is 2 beats, a crotchet (quarter note) is 1 beat, a quaver (eighth note) is ½ beat, and a semiquaver (sixteenth note) is ¼ beat.
在4/4拍中，全音符持续4拍，二分音符2拍，四分音符1拍，八分音符½拍，十六分音符¼拍。
| Note | English name | Beats (4/4) | Rests | 中文名称 |
| 𝅝 | Semibreve | 4 | 𝄻 | 全音符 |
| 𝅗𝅥 | Minim | 2 | 𝄼 | 二分音符 |
| ♩ | Crotchet | 1 | 𝄽 | 四分音符 |
| ♪ | Quaver | ½ | 𝄾 | 八分音符 |
| ♬ | Semiquaver | ¼ | 𝄿 | 十六分音符 |
Dotted notes: A dot adds half the original value. Dotted minim = 2 + 1 = 3 beats; dotted crotchet = 1 + ½ = 1½ beats.
附点音符：附点增加原时值的一半。附点二分音符 = 2 + 1 = 3拍；附点四分音符 = 1 + ½ = 1½拍。
Triplets: Three notes in the time of two; indicated by a ‘3’ bracket. A crotchet triplet occupies 2 beats total.
三连音：用“3”标记，三个音代替正常时值的两个音。四分音符三连音总共占2拍。
2. Time Signatures and Metre Rules | 拍号与节拍公式
A time signature has two numbers: the upper number shows beats per bar, the lower number indicates the beat unit (4 for crotchet, 8 for quaver). 4/4 = 4 crotchet beats per bar; 3/4 = 3 crotchet beats; 6/8 = 6 quaver beats, usually felt as 2 dotted-crotchet beats.
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（4代表四分音符，8代表八分音符）。4/4拍每小节4个四分音符；3/4拍3个四分音符；6/8拍6个八分音符，通常按2个附点四分音符的组合拍感来演奏。
Simple time: beat divides into two equal parts (2/4, 3/4, 4/4). Compound time: beat divides into three equal parts (6/8, 9/8, 12/8).
单拍子：每拍可均分成两部分（如2/4、3/4、4/4）。复拍子：每拍可均分成三部分（如6/8、9/8、12/8）。
Irregular metre: 5/4, 7/8 – beats are grouped unevenly, e.g., 5/4 = 3+2 or 2+3.
混合拍子：5/4、7/8等拍号中，拍子组合不对称，如5/4常为3+2或2+3。
3. Major Scale Formula & Natural Minor | 大调与小调音阶公式
Major scale formula: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone (T-T-S-T-T-T-S). On a keyboard, this translates to whole-step, whole-step, half-step, whole-step, whole-step, whole-step, half-step.
大调音阶公式：全音–全音–半音–全音–全音–全音–半音（T-T-S-T-T-T-S）。在键盘上即二度–二度–小二度–二度–二度–二度–小二度。
W W H W W W H (2 – 2 – 1 – 2 – 2 – 2 – 1 in semitones)
Natural minor scale formula: T – S – T – T – S – T – T. (Whole, half, whole, whole, half, whole, whole.)
自然小调公式：全–半–全–全–半–全–全（T-S-T-T-S-T-T）。
Harmonic minor: raise the 7th degree by a semitone. Melodic minor (ascending): raise 6th and 7th; descending reverts to natural minor.
和声小调：升高第7级一个半音。旋律小调上行：升高第6、7级；下行还原为自然小调。
Relative major/minor: The 6th degree of a major scale is the tonic of its relative minor. C major ↔ A minor.
关系大小调：大调第6级音是其关系小调的主音。C大调的关系小调是a小调。
4. Pentatonic, Blues and Chromatic Scales | 五声音阶、蓝调与半音阶
Major pentatonic: remove the 4th and 7th degrees from a major scale. C D E G A (C). Formula in semitones: 2 – 2 – 3 – 2 – 3.
大调五声音阶：从大调音阶中去除第4级和第7级。C D E G A（C）。半音间距：2–2–3–2–3。
Minor pentatonic: 1 ♭3 4 5 ♭7. A C D E G (A). In semitones: 3 – 2 – 2 – 3 – 2.
小调五声音阶：1 ♭3 4 5 ♭7。例如A C D E G（A）。半音间距：3–2–2–3–2。
Blues scale: minor pentatonic plus an added ‘blue’ note, the diminished 5th (♭5). A C D E♭ E G.
蓝调音阶：小调五声音阶加入一个“蓝音”即减五度（♭5）。A C D E♭ E G。
Chromatic scale: all 12 semitones within an octave. No specific formula.
半音阶：一个八度内所有12个半音。无特定公式。
5. Interval Recognition and Semitone Counting | 音程识别与半音计算公式
Intervals are measured by letter-name distance (2nd, 3rd, etc.) and quality (perfect, major, minor, augmented, diminished). Count the number of semitones to identify quality.
音程由音名距离（度数）和性质（纯、大、小、增、减）决定。通过半音数量来判定具体性质。
Quick semitone references: Unison 0, Minor 2nd 1, Major 2nd 2, Minor 3rd 3, Major 3rd 4, Perfect 4th 5, Tritone 6, Perfect 5th 7, Minor 6th 8, Major 6th 9, Minor 7th 10, Major 7th 11, Octave 12.
速查半音数：纯一度0，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。
Augmented = raise a major/perfect interval by a semitone. Diminished = lower a minor/perfect interval by a semitone.
增音程：将大音程或纯音程扩大半音。减音程：将小音程或纯音程缩小半音。
Inversion rule: A 2nd inverts to a 7th; 3rd ↔ 6th; 4th ↔ 5th. Major becomes minor, perfect stays perfect.
音程转位规律：二度转位成七度，三度↔六度，四度↔五度。大音程转位变小音程，纯音程转位依然是纯音程。
6. Triads and Seventh Chords | 三和弦与七和弦构建公式
Major triad: root + 4 semitones (major 3rd) + 3 semitones (minor 3rd). Intervals: major 3rd + minor 3rd. C-E-G.
大三和弦：根音+4个半音（大三度）+3个半音（小三度）。音程构成：大三度+小三度。C-E-G。
Minor triad: root + 3 semitones (minor 3rd) + 4 semitones (major 3rd). C-E♭-G.
小三和弦：根音+3半音（小三度）+4半音（大三度）。C-E♭-G。
Diminished triad: root + 3 + 3 (two minor 3rds). Augmented triad: root + 4 + 4 (two major 3rds).
减三和弦：根音+3+3（两个小三度）。增三和弦：根音+4+4（两个大三度）。
Dominant 7th: major triad + minor 7th. C-E-G-B♭. (Root+4+3+3).
属七和弦：大三和弦+小七度。C-E-G-B♭。（根音+4+3+3半音）。
Major 7th: major triad + major 7th (11 semitones). Minor 7th: minor triad + minor 7th. Diminished 7th: diminished triad + diminished 7th (9 semitones).
大七和弦：大三和弦+大七度。小七和弦：小三和弦+小七度。减七和弦：减三和弦+减七度。
7. Chord Inversions and Figured Bass | 和弦转位与数字低音符号
Root position triads are indicated by 5/3 (often abbreviated to just the chord name). First inversion: the 3rd is in the bass, figured bass 6/3 or just 6. Second inversion: the 5th is bass, figured bass 6/4.
原位三和弦用数字低音5/3标记（常省略只写和弦名）。第一转位：三音在低音部，标记为6/3或6。第二转位：五音在低音部，标记为6/4。
For seventh chords: root position 7; first inversion 6/5; second inversion 4/3; third inversion 4/2 or simply 2.
七和弦数字低音：原位7；第一转位6/5；第二转位4/3；第三转位4/2。
In a Roman numeral analysis, inversions are shown by added figures: I6, I6/4, V6/5, etc.
在罗马数字分析中，转位通过附加数字表示：如I6、I6/4、V6/5等。
8. Cadences and Common Chord Progressions | 终止式与常见和弦进行公式
Perfect cadence: V – I (authentic). Sounds final, conclusive. Imperfect cadence: I, II, or IV moving to V. Plagal cadence: IV – I (‘Amen’). Interrupted cadence: V – vi.
正格终止（完美终止）：V – I，听感终结、完整。半终止：任何和弦进行到V级。变格终止：IV – I（“阿们”终止）。阻碍终止：V – vi，令人意外的转折。
Tierce de Picardie: a minor-key piece ending on a major tonic chord (raised 3rd).
皮卡第三度：小调作品结束时将主和弦的三音升高变成大三和弦。
Common chord progression patterns: I – IV – V – I; I – vi – IV – V (1950s progression); ii – V – I (jazz turnaround).
常见和弦套路：I–IV–V–I；I–vi–IV–V（50年代进行）；ii–V–I（爵士回转）。
Circle of 5ths progression: IV – vii° – iii – vi – ii – V – I (descending 5ths).
五度圈进行：IV–vii°–iii–vi–ii–V–I（下行五度模进）。
9. Key Signatures and Circle of 5ths | 调号与五度圈计算
Sharp keys: Father Charles Goes Down And Ends Battle. Order of sharps: F♯ C♯ G♯ D♯ A♯ E♯ B♯.
升号调口诀：Father Charles Goes Down And Ends Battle。升号顺序：F♯ C♯ G♯ D♯ A♯ E♯ B♯。
Flat keys: Battle Ends And Down Goes Charles’ Father. Order of flats: B♭ E♭ A♭ D♭ G♭ C♭ F♭.
降号调口诀：Battle Ends And Down Goes Charles’ Father。降号顺序：B♭ E♭ A♭ D♭ G♭ C♭ F♭。
To find the major key for sharp signatures: the last sharp is the leading note; go up a semitone to find the tonic. For example, two sharps F♯ C♯ → last sharp is C♯ → a semitone above is D, so D major.
升号调找主音公式：最后一个升号是导音；向上半音即为主音。例如两个升号：F♯ C♯，最后一个升号是C♯，上行半音得D，故为D大调。
For flat keys: the second-to-last flat is the tonic. For B♭ E♭ (two flats), the second-to-last is B♭, so B♭ major. Exception: F major has one flat (B♭).
降号调找主音公式：倒数第二个降号即为主音。B♭ E♭ 倒数第二个是B♭，故为B♭大调。例外：F大调只有一个降号。
Relative minor: find the 6th degree or go down three semitones from the major tonic.
关系小调：取大调六级音，或从大调主音下行小三度。
10. Melodic Devices and Ornaments | 旋律手法与装饰音
Sequence: repetition of a melodic phrase at a higher or lower pitch, either exact (real) or adjusted to stay in key (tonal).
模进：旋律片段在不同音高上重复，可以是严格模进（完全移位）或守调模进（保持调性）。
Imitation: a musical idea is repeated by different parts, staggered. Canon and round are strict forms.
模仿：一个乐思在不同声部依次出现，卡农与轮唱是严格的模仿形式。
Inversion: melody turned upside down; ascending intervals become descending, and vice versa.
倒影：将旋律音程反转，上行变下行、下行变上行。
Retrograde: melody played backwards.
逆行：旋律反向演奏。
Augmentation: note values doubled; Diminution: note values halved.
增值：音符时值加倍；减值：时值减半。
Ornaments: Trill (rapid alternation of two notes), Mordent (main note, upper/lower note, main), Turn (four-note pattern), Appoggiatura (leaning note, accented), Acciaccatura (crushed note, unaccented).
装饰音：颤音（两音快速交替）、波音（主音-上助音-主音或下助音）、回音（四音环绕）、倚音（强拍占时值）、短倚音（碎音，不占时值）。
11. Texture and Sonority | 织体与音色分层
Monophonic texture: a single unaccompanied melodic line (e.g., Gregorian chant).
单音音乐：单一旋律线条，无伴奏（如格里高利圣咏）。
Homophonic (melody and accompaniment): a prominent melody supported by chords or a rhythmic background.
主调音乐（旋律加伴奏）：一条突出旋律辅以和弦或节奏背景。
Polyphonic (contrapuntal): two or more independent melodic lines interwoven (fugue, canon).
复调音乐（对位织体）：两条或以上独立旋律线条交织（赋格、卡农）。
Heterophony: simultaneous variation of the same melody by different voices (common in folk traditions).
异音织体：多个声部同时演奏同一旋律的不同变体（常见于民间音乐）。
Sonority: refers to the tone colour of an instrument or combination. Timbre, articulation, and playing techniques affect sonority (pizzicato, con arco, muted, sul ponticello).
音色层次：指乐器或组合的音响色彩。音色、奏法和演奏技巧（拨奏、弓奏、弱音、靠近琴马演奏等）均影响整体听感。
Two-part, three-part textures: indicated by the number of distinct lines (duet, trio texture).
二声部、三声部织体：由明显独立的线条数决定（如二重奏织体）。
12. Musical Structure and Forms | 曲式结构术语
Binary form (AB): two contrasting sections, often each repeated. Ternary form (ABA): a return of the A section after a contrasting B.
二段体（AB）：两个对比段落，常各自反复。三段体（ABA）：对比段落后再现A段。
Rondo form (ABACA or ABACABA): a recurring main theme alternates with contrasting episodes.
回旋曲式（ABACA或ABACABA）：不断回归的主题与各对比插部交替出现。
Theme and variations: a theme is presented and then altered in successive variations (melodic, harmonic, rhythmic, etc.).
主题与变奏：先呈示主题，随后通过旋律、和声、节奏等多种手法进行连续变奏。
Sonata form (exposition – development – recapitulation): two contrasting subjects are introduced, developed, and restated with resolution.
奏鸣曲式（呈示部–展开部–再现部）：两个对比主题先呈示，展开，最后在主调上解决再现。
Strophic form: same music repeated for each verse of a song. Through-composed: new music throughout with no large-scale repetition.
分节歌：相同旋律反复配不同歌词。通谱歌：音乐不断变化，无明显大段重复。
12-bar blues: a standard harmonic structure using I, IV, V chords in a 12-bar pattern (I | I | I | I | IV | IV | I | I | V | IV | I | V).
12小节蓝调：基于I、IV、V和弦
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