📚 A-Level Edexcel Music: Quick Reference Handbook of Formulae and Theorems | A-Level Edexcel 音乐：公式定理速查手册
Welcome to the ultimate revision quick‑reference for A‑Level Edexcel Music. This handbook distils the essential definitions, rules, and theoretical patterns that underpin analysis, composition, and listening. Treat it as your go‑to formula sheet for intervals, chords, harmonic progressions, rhythmic devices, and structural conventions across the Western classical tradition, musical theatre, jazz, and 20th‑/21st‑century styles.
欢迎使用 A‑Level Edexcel 音乐的终极复习速查手册。本手册提炼了支撑分析、作曲与听辨的核心定义、规则与理论模式。你可以将其视为涵盖音程、和弦、和声进行、节奏手法以及西方古典传统、音乐剧、爵士乐和二十至二十一世纪风格的结构常规的公式表。
1. Intervals | 音程
An interval is the distance in pitch between two notes. Identify the number (unison to octave) and then the quality (perfect, major, minor, augmented, diminished). In an exam, always count the letter names first, then count semitones.
音程是两个音之间的音高距离。先确定度数（同度到八度），再确定性质（纯、大、小、增、减）。考试中始终先数音名，再数半音数。
- Perfect intervals: unison (0 semitones), 4th (5 ST), 5th (7 ST), octave (12 ST).
- 纯音程：同度（0半音）、四度（5半音）、五度（7半音）、八度（12半音）。
- Major intervals: 2nd (2 ST), 3rd (4 ST), 6th (9 ST), 7th (11 ST).
- 大音程：二度（2半音）、三度（4半音）、六度（9半音）、七度（11半音）。
- Minor intervals: major interval narrowed by a semitone (e.g., minor 3rd = 3 ST).
- 小音程：将大音程减小半音（例如小三度 = 3半音）。
- Augmented: perfect or major interval widened by a semitone (e.g., augmented 4th = 6 ST, the ‘tritone’).
- 增音程：纯或大音程增宽半音（例如增四度 = 6半音，即三全音）。
- Diminished: perfect or minor interval narrowed by a semitone (e.g., diminished 5th = 6 ST).
- 减音程：纯或小音程减窄半音（例如减五度 = 6半音）。
Enharmonic intervals sound identical but are spelled differently (e.g., augmented 4th = diminished 5th). Compound intervals exceed an octave: a 9th is an octave plus a 2nd, etc.
等音程听起来相同但记谱不同（例如增四度 = 减五度）。复音程超过八度：九度是八度加二度，依此类推。
2. Chords and Triads | 和弦与三和弦
A triad is a three‑note chord built in thirds. The lowest note is the root. The quality depends on the intervals above the root.
三和弦是按三度叠置的三个音。最低音为根音。性质取决于根音上方的音程。
| Triad quality / 三和弦性质 | Intervals above root / 根音上方音程 | Example in C / C 调例子 |
|---|---|---|
| Major / 大三和弦 | major 3rd + perfect 5th | C–E–G |
| Minor / 小三和弦 | minor 3rd + perfect 5th | C–E♭–G |
| Augmented / 增三和弦 | major 3rd + augmented 5th | C–E–G♯ |
| Diminished / 减三和弦 | minor 3rd + diminished 5th | C–E♭–G♭ |
Seventh chords add a fourth note a 7th above the root. The most common types: dominant 7th (major triad + minor 7th, e.g., G–B–D–F), major 7th (major triad + major 7th), minor 7th (minor triad + minor 7th), half‑diminished 7th (diminished triad + minor 7th), diminished 7th (diminished triad + diminished 7th).
七和弦在根音上方七度加第四个音。常见类型：属七和弦（大三和弦+小七度，如 G–B–D–F）、大七和弦（大三和弦+大七度）、小七和弦（小三和弦+小七度）、半减七和弦（减三和弦+小七度）、减七和弦（减三和弦+减七度）。
Inversion symbols: root position (a), first inversion (b, 3rd in bass), second inversion (c, 5th in bass), third inversion for 7ths (d, 7th in bass).
转位标记：原位（a）、第一转位（b，三音在低音）、第二转位（c，五音在低音）、七和弦第三转位（d，七音在低音）。
3. Roman Numerals and Chord Functions | 罗马数字与和弦功能
Roman numerals denote the scale degree on which a chord is built. Uppercase = major, lowercase = minor, ° = diminished, + = augmented. In major keys: I ii iii IV V vi vii°. In minor keys (harmonic minor often used): i ii° III+ iv V VI vii°.
罗马数字表示和弦根音所处的音级。大写=大三和弦，小写=小三和弦，°=减三和弦，+=增三和弦。大调中：I ii iii IV V vi vii°。小调中（常使用和声小调）：i ii° III+ iv V VI vii°。
Primary triads: I (tonic), IV (subdominant), V (dominant). They define the key. Secondary chords: ii, iii, vi, vii° add colour. Cadential 6/4 chord: I⁶⁴ (a second‑inversion tonic) functions as a dominant preparation, often resolving to V.
正三和弦：I（主）、IV（下属）、V（属）确定调性。副三和弦：ii, iii, vi, vii° 增添色彩。终止四六和弦：I⁶⁴（主和弦第二转位）用作属准备，常解决到 V。
Circle‑of‑fifths progressions move by descending 5ths (or ascending 4ths): iii–vi–ii–V–I. This is one of the strongest harmonic formulas.
五度圈进行按下行五度（或上行四度）移动：iii–vi–ii–V–I，这是最有力的和声公式之一。
4. Cadences | 终止式
A cadence is a two‑chord formula that ends a phrase. Memorise the four main types in tonal music.
终止式是结束乐句的两和弦公式。记住调性音乐中四种主要类型。
| Cadence / 终止式 | Chords / 和弦 | Effect / 效果 |
|---|---|---|
| Perfect (V–I) / 正格终止 | V(⁷)–I, both in root position, top voice on tonic | Final, conclusive / 完全结束感 |
| Plagal (IV–I) / 变格终止 | IV–I, often ‘Amen’ | Gentle closure / 柔和收束 |
| Imperfect (I–V, ii–V, IV–V, etc.) / 不完全终止 | Any chord leading to V | Pause, not final / 停顿感，非结束 |
| Interrupted (V–vi) / 阻碍终止 | V(⁷)–vi (chord of the surprise) | Unexpected, deceptive / 意外偏离 |
In extended tonality and popular music, plagal cadences and IV–I progressions are common, as well as V⁷–I at turnaround points.
在扩展调性和流行音乐中，变格终止和 IV–I 进行很常见，V⁷–I 也常用于回转点。
5. Non‑Harmony Notes | 和声外音
These melodic embellishments create tension and motion against the underlying harmony. Identify them by preparation, dissonance, and resolution.
这些旋律装饰在下方和声之上制造紧张与运动感。通过准备、不协和与解决加以识别。
- Passing note (PN): stepwise motion between two harmony notes, unaccented or accented. 经过音：两和弦音之间级进，非重音或重音。
- Neighbour note (auxiliary, NN): adjacent step away from and back to the same harmony note. 辅助音：离开同一和弦音再返回的邻音。
- Suspension (S): held over from a previous chord, creates a dissonance on the beat, then resolves down by step. Preparation – suspension – resolution. (4–3, 7–6, 9–8 are common). 延留音：从前和弦保留，在强拍构成不协和，再下行级进解决。准备–延留–解决（常见 4–3, 7–6, 9–8）。
- Appoggiatura (APP): approached by leap, dissonant on the beat, resolves by step (often down). 倚音：跳进进入，强拍不协和，级进解决（常下行）。
- Escape note (échappée, EN): stepwise from a harmony note, then leap in the opposite direction to the next harmony note. 逸出音：从和弦级进，再反向跳进到下一和弦音。
- Anticipation (ANT): arrives early as a chord note before the harmony changes, usually unaccented. 先现音：在新和弦前提前出现的和弦音，通常非重音。
- Changing note (nota cambiata): a specific pattern: harmony note – skip down – ascending step – skip in opposite direction. 换音：特定模式—和弦音–向下跳进–向上级进–反向跳进。
6. Modulation and Tonicisation | 转调与主音化
Modulation is a change of key; tonicisation is a temporary emphasis on a new tonic without a full cadence. The most common modulations in the set works move to the dominant (V), relative major (III in minor), or subdominant (IV).
转调是调性的转变；主音化是暂时强调新主音但缺乏完全终止。指定作品中最常见的转调移至属调（V）、关系大调（小调的 III）或下属调（IV）。
Pivot chords help smooth the change: a chord shared by both keys that is reinterpreted. For example, in C major to G major, the C–E–G chord (I in C) becomes IV in G when followed by a D⁷–G cadence.
共同和弦使转调平滑：在两个调中共享并被重新解释的和弦。例如，C 大调转 G 大调时，C–E–G 和弦（C 调 I）在接 D⁷–G 终止时成为 G 调的 IV。
Chromatic chords like the Neapolitan 6th (♭II⁶, a major chord built on the lowered 2nd degree, often in first inversion) and augmented 6th chords (Italian, French, German) are powerful pre‑dominant formulas in Common Practice harmony.
半音和弦如那不勒斯六和弦（♭II⁶，在降低第二级上建立的大三和弦，常为第一转位）和增六和弦（意大利、法国、德国）是共晓实践和声中强有力的属前公式。
7. Rhythm and Metre | 节奏与节拍
Metre: simple duple (2/4), triple (3/4), quadruple (4/4); compound duple (6/8), triple (9/8), quadruple (12/8). The upper number of compound gives the number of divisions; the beat is a dotted crotchet.
节拍：单拍子（二拍子 2/4，三拍子 3/4，四拍子 4/4）；复拍子（二拍子 6/8，三拍子 9/8，四拍子 12/8）。复拍子上方的数字表示分拍数；拍子是附点四分音符。
Syncopation shifts the accent off the strong beats, often using tied notes or rests on the beat. Hemiola occurs in triple metre when two bars of 3/4 are grouped as three bars of 2/4, creating a cross‑rhythmic feel.
切分音将重音转移至弱拍，常使用延音线或强拍休止。赫米奥拉在三拍子中将其两小节 3/4 分组为三小节 2/4，产生交错节奏感。
Cross‑rhythm: simultaneous use of contrasting rhythmic patterns (e.g., triplets against duplets). Poly‑rhythm: multiple streams of different metres. The tempo markings from Largo to Presto affect character and period interpretation.
交错节奏：同时使用对比性节奏型（如三连音对二连音）。复合节奏：不同拍子的多个层次同时进行。从 Largo 到 Presto 的速度标记影响性格和时代诠释。
8. Ornamentation | 装饰音
Ornaments add expressive detail and vary from period to period. Know the standard Baroque and Classical signs and their realisations.
装饰音增添表情细节，不同时期有所不同。掌握标准的巴洛克与古典记号及其实际演奏方式。
- Trill (tr): rapid alternation between the written note and the upper auxiliary, starting on the upper note in Baroque practice. 颤音：标写音符与上方辅助音快速交替，巴洛克时期常始于上方音。
- Mordent (upper ✦): main note – upper note – main note, very quick. 逆波音：主音–上方音–主音，极快。
- Inverted mordent (lower ✧): main note – lower note – main note. 波音：主音–下方音–主音。
- Turn (∼): four notes circling the main note: upper – main – lower – main. Placement above or between notes alters rhythm. 回音：围绕主音的四个音：上方–主–下方–主。其位置决定节奏处理。
- Appoggiatura: small note taking half the value of the main note or the full value in some contexts, played on the beat. 倚音：小音符取值为主音的一半或在特定语境取全值，在拍点上演奏。
- Acciaccatura: crushed grace note with a stroke through, played as quickly as possible before the beat. 短倚音：带斜线的小音符，在拍前尽可能快地演奏。
9. Musical Form and Structure | 曲式与结构
Standard forms: binary (AB, sections usually repeated), ternary (ABA, da capo), rondo (ABACA, etc.), theme and variations, sonata form (exposition, development, recapitulation), strophic (same music for each verse), through‑composed, cyclic, and arch form.
标准曲式：二段体（AB，段落常反复）、三段体（ABA，返始）、回旋曲（ABACA 等）、主题变奏、奏鸣曲式（呈示部、展开部、再现部）、分节歌（各段歌词同曲调）、通作式、循环体和拱形结构。
Sonata form, essential for the Classical and Romantic periods, includes first subject (tonic), transition (modulating), second subject (dominant or relative major), codetta, development (fragmentation, sequential treatment), recapitulation (both subjects in tonic), coda. The introduction and coda may be added.
奏鸣曲式对古典和浪漫时期至关重要，包含第一主题（主调）、连接部（转调）、第二主题（属调或关系大调）、小结尾、展开部（片段化、模进处理）、再现部（两个主题都在主调）、尾声。可添加引子和尾声。
In musical theatre and popular song, verse‑chorus, bridge, middle‑8, and tag are key structural formulas. 12‑bar blues: I I I I IV IV I I V IV I I (or V), often with altered third chords (dominant 7ths).
在音乐剧和流行歌曲中，主歌–副歌、桥段、中八小节和尾声是关键结构公式。十二小节布鲁斯：I I I I IV IV I I V IV I I（或 V），常使用变体三和弦（属七和弦）。
10. Textures and Instrumental Techniques | 织体与乐器技巧
Monophony: single unaccompanied line. Homophony: melody with chordal accompaniment (often chordal, melody‑dominated). Polyphony: two or more independent melodic lines (imitative or non‑imitative). Heterophony: simultaneous varied versions of the same melody.
单声织体：单一无伴奏旋律线条。主调织体：旋律加和弦式伴奏（常为和弦式或主旋律主导）。复调织体：两条或更多独立旋律线条（模仿或非模仿）。支声织体：同一旋律的多种变体同时出现。
Antiphonal: alternating groups of performers (e.g., brass vs strings). Fugue: a contrapuntal genre with subject, answer, countersubject, episodes, and stretto. Pedal (tonic or dominant) sustains a bass note while harmonies change above.
应答式：演奏者分组交替（如铜管对弦乐）。赋格：包含主题、答题、对题、间插段和紧接段的复调体裁。持续音（主或属）在低音延续，上方和声变化。
Articulation: staccato, legato, tenuto, accent, slur, phrase mark. Bowing: arco, pizzicato, tremolo, sul ponticello, sul tasto. Wind techniques: flutter‑tonguing, multiphonics. Percussion: mallet choices, rim shots, rolls.
运音法：断奏、连奏、保持音、重音、连音线、乐句线。弓法：拉奏、拨奏、震音、靠近琴马、靠近指板。管乐技巧：花舌、多声。打击乐：槌头选择、鼓边打击、滚奏。
11. Common Harmonic Progressions and Voice Leading | 常用和声进行与声部进行
Voice leading rules aim for smoothness: move the common tone when possible, stepwise contrary motion between outer voices, avoid parallel 5ths and 8ves, avoid augmented intervals, resolve leading tones up and chordal sevenths down.
声部进行规则追求平稳：尽可能保持共同音，外声部反向级进，避免平行五度和八度，避免增音程，导音向上解决，和弦七音向下解决。
Standard progressions: I–IV–V–I (plagal + authentic), I–vi–IV–V (50s progression, doo‑wop), ii–V–I (jazz turnaround), I–V–vi–IV (pop‑rock). In the minor mode, V and vii°⁷ are frequently adopted from the harmonic minor to create strong dominant function.
标准进行：I–IV–V–I（变格+正格），I–vi–IV–V（50 年代进行，doo‑wop），ii–V–I（爵士回转），I–V–vi–IV（流行摇滚）。小调中常借用和声小调的 V 和 vii°⁷ 以增强属功能。
Diminished 7th chords are symmetrical (all minor 3rds) and can resolve in multiple directions, making them useful for modulation and dramatic tension.
减七和弦是对称的（全部小音程），可向多个方向解决，非常适合转调和戏剧性张力。
12. Set‑Work Quick‑Check Concepts | 指定作品速查概念
For the Edexcel A‑Level listening paper, you must link theoretical knowledge to specific works. Key ideas include: use of motif transformation (Berlioz, Wicked), leitmotif (Star Wars, Psycho), prepared piano and percussive timbre (Reich), serialism and atonality (Schoenberg), modal harmony and folk influence (Vaughan Williams), harmonic ostinato and stage‑band textures (Sondheim), and minimalist phasing (Adams).
在 Edexcel A‑Level 听辨卷中，需将理论知识联系具体作品。核心理念包括：动机变形（柏辽兹、《魔法坏女巫》）、主导动机（《星球大战》、《惊魂记》）、预置钢琴与打击音色（莱许）、序列主义与无调性（勋伯格）、调式和声与民间影响（沃恩·威廉斯）、和声固定音型与舞台乐队织体（桑德海姆），以及极简主义移相（亚当斯）。
Fusion genres in the anthology combine Western classical with Indian classical (Panjabi MC, Anoushka Shankar), jazz, and dance music. Identify metrical layers, scale types (bhairavi, todi), dominant substitutions, and added‑note chords.
合集作品中的融合体裁结合了西方古典与印度古典（旁遮普 MC、安努舒卡·香卡）、爵士及舞曲。识别节拍层次、音阶类型（bhairav, todi）、属替代与附加音和弦。
Always state the date, context, and characteristic use of a device when referring to a set work. The scoring structure (e.g., fusion of orchestral and traditional instruments, use of synthesizers, SATB choir) is as important as harmonic analysis.
涉及指定作品时，始终说明日期、背景以及对某种手法的典型运用。配器结构（例如管弦乐与传统乐器融合、合成器使用、SATB 合唱团）与和声分析同等重要。
Published by TutorHao | Music Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
屏轩国际教育cambridge primary/secondary checkpoint, cat4, ukiset,ukcat,igcse,alevel,PAT,STEP,MAT, ibdp,ap,ssat,sat,sat2课程辅导，国外大学本科硕士研究生博士课程论文辅导