IGCSE CAIE Music: Quick Reference Handbook | IGCSE CAIE 音乐：公式定理速查手册

📚 IGCSE CAIE Music: Quick Reference Handbook | IGCSE 音乐：公式定理速查手册

This quick-reference handbook distills the essential musical concepts, terminology, and ‘rules’ needed for the Cambridge IGCSE Music syllabus. Think of it as your formula sheet: concise tables, key definitions, and practical guidelines that connect listening, performing, and composing. Whether you are decoding a score, describing a melody, or building a chord progression, these pages will keep the core principles at your fingertips.

这本速查手册提炼了剑桥 IGCSE 音乐大纲所需的核心概念、术语和“定理”。你可以把它当作公式表：简洁的表格、关键定义和实用指南，将听力、演奏与作曲串联起来。无论你在分析乐谱、描述旋律还是构建和弦进行，这些核心原则都能随时查阅。

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1. Pitch and Notation | 音高与记谱法

Pitch is indicated on a five-line staff using a clef sign. The treble clef (G clef) fixes G above middle C on the second line; the bass clef (F clef) fixes F below middle C on the fourth line. Ledger lines extend the staff. Accidentals—sharp (♯), flat (♭), and natural (♮)—alter pitch by a semitone. Enharmonic equivalents sound the same but are spelled differently (e.g., C♯ and D♭).

音高通过五线谱和谱号表示。高音谱号（G谱号）将中央C上方的G固定在第二线；低音谱号（F谱号）将中央C下方的F固定在第四线。加线用于扩展音域。临时变音记号——升号(♯)、降号(♭)和还原号(♮)——将音高改变半音。等音音高听起来相同但记法不同（例如C♯与D♭）。

• Interval counting rule: count the letter names inclusively from the lower note to the higher note. For example, C to E is a 3rd (C-D-E).
• 音程计算法则：从低音到高音数音名，包含首尾。例如C到E是三度(C-D-E)。
• Reading accidentals: an accidental applies to all notes of the same pitch within the same bar, unless cancelled by another accidental.
• 临时记号的规则：临时记号作用于同一小节内相同音高的所有音符，除非被另一临时记号取消。

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2. Rhythm and Time Signatures | 节奏与时值

Rhythm organises sound and silence in time. Note values include semibreve (𝆩, 4 beats), minim (𝆪, 2 beats), crotchet (𝆫, 1 beat), quaver (𝆪, ½ beat), and semiquaver (𝆫, ¼ beat). Dotted notes add half the original value; a dotted minim = 3 beats, a dotted crotchet = 1½ beats. Ties join notes across bar lines.

节奏在时间中组织声音与休止。音符时值包括全音符(𝆩，4拍)、二分音符(𝆪，2拍)、四分音符(𝆫，1拍)、八分音符(𝆪，½拍)和十六分音符(𝆫，¼拍)。附点增加原有时值的一半；附点二分音符=3拍，附点四分音符=1½拍。延音线连接跨小节线的音符。

Time signatures define the metre. The top number shows beats per bar; the bottom number shows the beat unit. Simple time (2/4, 3/4, 4/4) has beats that divide into two equal parts. Compound time (6/8, 9/8, 12/8) has beats that divide into three equal parts. Syncopation places emphasis on a normally weak beat.

拍号定义节拍类型。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。单拍子(2/4、3/4、4/4)的每拍可分成两个均等部分。复拍子(6/8、9/8、12/8)的每拍可分成三个均等部分。切分音将重音放在通常较弱的拍位上。

Time Signature	Beats	Strong beat pattern
2/4	2 crotchets	Strong–weak
3/4	3 crotchets	Strong–weak–weak
4/4 (C)	4 crotchets	Strong–weak–medium–weak
6/8	2 dotted crotchets	Strong–weak (compound)

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3. Scales and Tonality | 音阶与调性

A scale is a pattern of whole tones (T) and semitones (S). The major scale pattern is T–T–S–T–T–T–S. The natural minor scale is T–S–T–T–S–T–T. The harmonic minor raises the 7th degree, creating an augmented 2nd between the 6th and 7th. The melodic minor raises the 6th and 7th ascending and reverts to natural minor descending.

音阶是全音(T)和半音(S)的模式。大调音阶模式为全-全-半-全-全-全-半。自然小调为全-半-全-全-半-全-全。和声小调升高第七级，在第六与第七级间产生增二度。旋律小调上行时升高第六、七级，下行时还原为自然小调。

The key signature is a set of sharps or flats that applies throughout a piece. The circle of fifths organises keys: moving clockwise adds a sharp (G-D-A-E-B-F♯-C♯), moving counterclockwise adds a flat (F-B♭-E♭-A♭-D♭-G♭-C♭). Relative major and minor keys share the same key signature; C major’s relative minor is A minor.

调号是一组升号或降号，适用于全曲。五度圈组织调性：顺时针加一升号（G-D-A-E-B-F♯-C♯），逆时针加一降号（F-B♭-E♭-A♭-D♭-G♭-C♭）。关系大小调共享相同调号；C大调的关系小调是a小调。

Quick rule for relative minor: go down three semitones from the major tonic to find the relative minor tonic (C → A). For relative major: go up three semitones from the minor tonic (A → C).

关系小调快速法则：从大调主音下行三个半音即得关系小调主音（C → A）。关系大调：从小调主音上行三个半音（A → C）。

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4. Intervals | 音程

An interval is the distance in pitch between two notes. It is described by a number (2nd, 3rd, 4th, etc.) and a quality: perfect, major, minor, augmented, diminished. Perfect intervals (unison, 4th, 5th, octave) remain perfect when inverted. Major intervals become minor when inverted, and vice versa.

音程是两个音之间的音高距离，用数字（二度、三度、四度等）和性质描述：纯、大、小、增、减。纯音程（同度、四度、五度、八度）转位后仍为纯音程。大音程转位变为小音程，反之亦然。

Interval	Semitone count (ascending)	Example (from C)
Minor 2nd (m2)	1	C–D♭
Major 2nd (M2)	2	C–D
Minor 3rd (m3)	3	C–E♭
Major 3rd (M3)	4	C–E
Perfect 4th (P4)	5	C–F
Augmented 4th / Diminished 5th	6	C–F♯ / C–G♭
Perfect 5th (P5)	7	C–G
Minor 6th (m6)	8	C–A♭
Major 6th (M6)	9	C–A
Minor 7th (m7)	10	C–B♭
Major 7th (M7)	11	C–B
Perfect octave (P8)	12	C–C

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5. Chords and Harmony | 和弦与和声

A chord is three or more notes sounded together. Triads are built by stacking thirds: root, 3rd, and 5th. Primary triads are I (tonic), IV (subdominant), and V (dominant). The dominant 7th chord (V7) adds the flattened 7th above the root: G–B–D–F in C major. A perfect cadence is V–I; plagal cadence is IV–I; imperfect cadence ends on V; interrupted cadence is V–vi.

和弦是三个或更多音同时发声。三和弦由三度叠置：根音、三音和五音。正三和弦为I（主和弦）、IV（下属和弦）和V（属和弦）。属七和弦(V7)在属三和弦上加一个小七度音：在C大调中为G-B-D-F。正格终止是V–I；变格终止IV–I；不完全终止结束在V；阻碍终止V–vi。

Chord inversion rule: root position has the root in the bass; first inversion has the 3rd in the bass (figure 6); second inversion has the 5th in the bass (figure 6/4). For a C major triad: C–E–G (root); E–G–C (first inversion); G–C–E (second inversion).

和弦转位法则：原位根音在低声部；第一转位三音在低声部（数字6）；第二转位五音在低声部（数字6/4）。C大三和弦：C-E-G（原位）；E-G-C（第一转位）；G-C-E（第二转位）。

• Cadences identification: Authentic (perfect) cadence: V(7)–I, sounds final. Plagal: IV–I, “Amen” effect. Half (imperfect): ends on V, sounds unfinished. Deceptive (interrupted): V–vi, a surprise move.
• 终止式辨识：正格终止：V(7)–I，听感完结。变格终止：IV–I，“阿门”效果。半终止：结束于V，听感未完成。阻碍终止：V–vi，意外进行。
• Diatonic chord formula in a major key: I (major), ii (minor), iii (minor), IV (major), V (major), vi (minor), vii° (diminished).
• 大调中的自然音和弦公式：I（大）、ii（小）、iii（小）、IV（大）、V（大）、vi（小）、vii°（减）。

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6. Musical Form and Structure | 曲式与结构

Musical form is the overall plan of a piece. Binary form (AB) has two related sections, often repeated. Ternary form (ABA) features a contrast in the middle section and a return of the opening material. Rondo form (ABACA) alternates a recurring theme with contrasting episodes. Theme and variations systematically alters a melody (A, A’, A”, A”’…). Sonata form (exposition–development–recapitulation) is typical in first movements of Classical symphonies.

曲式是作品的整体布局。二部曲式(AB)包含两个相关段落，常反复。三部曲式(ABA)中段形成对比，首段材料再现。回旋曲式(ABACA)是主题与对比插部的交替。主题与变奏系统性地变化一个旋律(A, A’, A”, A”’…)。奏鸣曲式（呈示部–展开部–再现部）常见于古典交响曲第一乐章。

Form	Structure	Key Features
Binary	A ∥ B ∥	Modulates from tonic → dominant/relative major; returns to tonic.
Ternary	A B A	A sections often in tonic; B provides contrast (different key, texture).
Rondo	A B A C A (etc.)	Refrain (A) always in tonic; episodes in related keys.
Sonata	Exposition—Development—Recapitulation	Two contrasting themes; development explores keys; recapitulation resolves to tonic.

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7. Texture | 音乐织体

Texture describes how many layers are heard and how they relate. Monophonic texture consists of a single melodic line, unaccompanied. Homophonic texture features a dominant melody with chordal accompaniment. Polyphonic (or contrapuntal) texture has two or more independent melodies interwoven. Heterophonic texture presents simultaneous variations of a single melody. Imitative texture occurs when a melodic idea is echoed or repeated in different parts.

织体描述听觉上声部的数量及其关系。单音织体仅含一条无伴奏旋律线。主调织体以主导旋律配上和弦伴奏为特征。复调（对位）织体由两条或更多独立旋律交织而成。支声织体是同一旋律的多种变体同时呈现。模仿织体发生在旋律构思在不同声部中被回应或重复时。

• Example terms: melody and accompaniment (homophonic); canon, fugue (polyphonic/imitative); drone (a sustained note under melody).
• 示例术语：旋律与伴奏（主调）；卡农、赋格（复调/模仿）；持续低音（旋律下方持续长音）。
• Texture changes: a piece may shift from monophonic opening to homophonic verse and polyphonic chorus for contrast.
• 织体变化：作品可能从单音开场转向主调主歌、复调副歌以形成对比。

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8. Dynamics and Tempo Markings | 力度与速度记号

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: crescendo (cresc., getting louder), diminuendo/dim. (getting softer). Sudden accent: sforzando (sfz) indicates a sharp, strong attack.

力度指示响度：pp（极弱）、p（弱）、mp（中弱）、mf（中强）、f（强）、ff（极强）。渐变记号：crescendo（渐强）、diminuendo/dim.（渐弱）。突强记号：sforzando(sfz)表示突然的重音。

Tempo marks set the speed, often in Italian: Largo (very slow), Adagio (slow), Andante (walking pace), Moderato (moderate), Allegro (fast), Vivace (lively), Presto (very fast). Metronome marks give exact beats per minute (e.g., ♩ = 120). Terms for tempo change: accelerando (accel., gradually faster), ritardando (rit., gradually slower).

速度标记设定音乐快慢，常为意大利文：Largo（极慢）、Adagio（慢）、Andante（行板）、Moderato（中板）、Allegro（快板）、Vivace（活泼）、Presto（极快）。节拍器标记给出每分钟精确拍数（如♩=120）。速度变化术语：accelerando（accel.，渐快）、ritardando（rit.，渐慢）。

Term	Meaning
rubato	Expressive flexibility of tempo
a tempo	Return to original speed
tenuto	Hold note for full value, slight stress
staccato	Short, detached
legato	Smooth, connected

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9. Articulation and Ornamentation | 演奏法与装饰音

Articulation governs how individual notes are performed. Slurs group notes to be played legato. Staccato (dot) shortens a note. Accent (>) stresses a note. Tenuto (−) suggests holding the note for its full value with slight weight. Marcato (^) is an even stronger, marked accent.

演奏法决定单个音符如何演奏。连音线将音符分组演奏为圆滑。断奏（点）缩短音符。重音(＞)强调某个音。保持音(－)表示充分保持时值并稍加份量。马卡托(^)是更强硬的强调记号。

Ornaments are decorative melodic flourishes. Common ornaments: trill (rapid alternation between note and upper neighbour), turn (note–upper–lower–note), mordent (quick alternation with lower or upper note), appoggiatura (leaning note, takes half the value of the main note), acciaccatura (crushed note, played very quickly).

装饰音是旋律的装饰性花音。常见装饰音：颤音（本音与上方邻音快速交替）、回音（本音-上邻-下邻-本音）、波音（与下邻或上邻快速交替）、倚音（倚靠音，占主音时值的一半）、碎音（短倚音，极快奏出）。

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10. Instruments and Voices | 乐器与人声

The orchestra is divided into families: strings (violin, viola, cello, double bass, harp), woodwinds (flute, oboe, clarinet, bassoon), brass (trumpet, French horn, trombone, tuba), and percussion (timpani, snare drum, cymbals, marimba). Standard string techniques include arco (bowed), pizzicato (plucked), tremolo (rapid bowing), and sul ponticello (near the bridge).

管弦乐队分为不同组别：弦乐（小提琴、中提琴、大提琴、低音提琴、竖琴）、木管（长笛、双簧管、单簧管、大管）、铜管（小号、圆号、长号、大号）和打击乐（定音鼓、小军鼓、钹、马林巴）。常用弦乐技法包括arco（拉奏）、pizzicato（拨奏）、tremolo（快速运弓）和sul ponticello（近琴马演奏）。

Vocal ranges: soprano (highest female), mezzo-soprano, alto (lower female, or countertenor), tenor (highest male), baritone, bass (lowest male). Common vocal techniques: melisma (several notes on one syllable), syllabic setting (one note per syllable), falsetto (male head voice).

人声分类：女高音（最高女声）、女中音、女低音（较低女声，或假声男高音）、男高音（最高男声）、男中音、男低音（最低男声）。常见声乐技法：花唱（一个音节配多个音符）、音节式（每音节一音）、假声（男声头声）。

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11. Style Periods and Genres | 音乐风格时期与体裁

IGCSE listening focuses on Western art music and world music. Key style periods: Baroque (1600–1750, composers Bach, Handel, features: terraced dynamics, harpsichord, contrapuntal texture), Classical (1750–1820, Mozart, Haydn, balanced phrases, Alberti bass, homophonic texture), Romantic (1820–1900, Beethoven, Chopin, expressive, rubato, chromatic harmony), Modern (20th century–present, Debussy, Stravinsky, atonality, experimental techniques).

IGCSE 听力聚焦西方艺术音乐与世界音乐。关键风格时期：巴洛克（1600–1750，作曲家巴赫、亨德尔，特征：阶梯力度、羽管键琴、对位织体）、古典（1750–1820，莫扎特、海顿，平衡乐句、阿尔贝蒂低音、主调织体）、浪漫（1820–1900，贝多芬、肖邦，富于表现、自由速度、半音化和声）、现代（20世纪至今，德彪西、斯特拉文斯基，无调性、实验技法）。

• Dance suites and forms: Baroque suite includes Allemande, Courante, Sarabande, Gigue. Classical forms: sonata, minuet and trio, rondo. Romantic character pieces: nocturne, étude, impromptu.
• 舞曲组曲与体裁：巴洛克组曲包含阿勒曼德、库朗特、萨拉班德、吉格。古典体裁：奏鸣曲、小步舞曲与三声中部、回旋曲。浪漫特性小品：夜曲、练习曲、即兴曲。
• World music: gamelan (Indonesia, metallophones, cyclic structures), samba (Brazil, syncopation, percussion), African drumming (polyrhythm, call and response), Indian classical (raga, tala, sitar, tabla).
• 世界音乐：甘美兰（印度尼西亚，金属打击乐器，循环结构）、桑巴（巴西，切分音，打击乐）、非洲鼓乐（复合节奏，呼应）、印度古典音乐（拉格、塔拉，西塔琴，塔布拉鼓）。

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12. Compositional Devices and Techniques | 作曲技法与手法

Recognising common devices aids both analysis and composition. Sequence repeats a melodic pattern at a higher or lower pitch. Ostinato is a persistently repeated rhythmic or melodic figure. Pedal (drone) is a sustained or repeated note, usually in the bass. Imitation is when one part copies another. Canon and round are strict forms of imitation.

识别常见手法有助于分析与作曲。模进是将旋律型在不同音高上重复。固定音型是持续重复的节奏或旋律音型。持续音（踏板音）是持续或重复的音，多在低音部。模仿是一个声部复制另一声部。卡农与轮唱是严格的模仿形式。

• Contrast techniques: change of key (modulation), change of metre, change of tempo, change of dynamics, sudden silences (general pause).
• 对比手法：转调、变换拍子、速度变化、力度变化、突然休止（总休止）。
• Motivic development: fragmentation (breaking a theme into smaller parts), augmentation (lengthening note values), diminution (shortening note values), inversion (melody turned upside down).
• 动机发展：分裂（将主题分解为更小片段）、增值（加长时值）、减值（缩短时值）、倒影（旋律上下颠倒）。
• Word painting: music reflects the literal meaning of lyrics (e.g., ascending melody on “heaven”, descending on “deep”).
• 词画法：音乐反映歌词字面含义（例如“天堂”配上行旋律，“深渊”配下行旋律）。

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