📚 Pre-U CAIE Music: Quick Reference to Key Concepts and Rules | Pre-U CAIE 音乐：公式定理速查手册
This handbook offers a streamlined collection of the most essential concepts, terminology and structural ‘rules’ required for the Pre-U CAIE Music syllabus. It is designed to serve as a revision checklist and a rapid lookup tool, mirroring the way a scientist consults a formula sheet. Each section distils a core area of music theory, from intervals and chords to harmonic progressions and formal structures, pairing concise English definitions with Chinese explanations for clarity. By treating these musical elements as ‘formulae’ for analysis and composition, you can internalise them more systematically and recall them with greater confidence in your examination.
本手册汇集了 Pre-U CAIE 音乐课程最核心的概念、术语和结构性“法则”，旨在充当复习清单和快速查阅工具，就像科学家查阅公式表一样。每一节提炼出一个音乐理论的核心领域，从音程、和弦到和声进行与曲式结构，以简明的英文定义搭配中文解释，便于理解。通过将这些音乐要素视为分析和创作的“公式”，你可以更系统地内化知识，在考试中更自信地加以运用。
1. Intervals | 音程
An interval is the distance between two pitches, measured in semitones. The quality of an interval (major, minor, perfect, augmented, diminished) is determined by the number of staff positions and the exact semitone count. For example, from C to E is a major third (4 semitones), while C to E♭ is a minor third (3 semitones).
音程是两个音高之间的距离，以半音为单位计量。音程的性质（大、小、纯、增、减）取决于五线谱上的度数以及精确的半音数。例如，C 到 E 是大三度（4 个半音），而 C 到 E♭ 是小三度（3 个半音）。
The perfect intervals are unison, fourth, fifth and octave; these are highly consonant. When inverted, major intervals become minor, and perfect intervals remain perfect. Augmented intervals expand a major or perfect interval by one semitone; diminished intervals shrink a perfect or minor interval by one semitone.
纯音程包括同度、四度、五度和八度；它们听起来极为协和。当转位时，大音程变成小音程，纯音程保持不变。增音程将大音程或纯音程扩大一个半音；减音程将纯音程或小音程缩小一个半音。
| Interval (English) | 中文名称 | Semitones | Example |
|---|---|---|---|
| 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 | 增四度 / 减五度 | 6 | C – F♯ |
| 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′ |
2. Scales and Key Signatures | 音阶与调号
The Western tonal system is founded upon major and minor scales. A major scale follows the pattern of whole steps and half steps: W‑W‑H‑W‑W‑W‑H. The natural minor scale (Aeolian mode) uses the pattern W‑H‑W‑W‑H‑W‑W. The harmonic minor raises the seventh degree, creating an augmented 2nd between scale degrees 6 and 7. The melodic minor raises both the sixth and seventh degrees when ascending and reverts to the natural form when descending.
西方调性体系建立在大小调音阶之上。大调音阶遵循全音和半音的排列模式：全‑全‑半‑全‑全‑全‑半。自然小调（爱奥利亚调式）使用全‑半‑全‑全‑半‑全‑全的模式。和声小调升高第七级，在第六级和第七级之间形成增二度。旋律小调在上行时升高第六级和第七级，下行时恢复为自然形式。
Key signatures are a set of sharps or flats placed at the beginning of a staff to indicate the tonal centre. The order of sharps is F♯, C♯, G♯, D♯, A♯, E♯, B♯; the order of flats is B♭, E♭, A♭, D♭, G♭, C♭, F♭. The tonic of a major key with sharps is one semitone above the last sharp; for flat keys, the tonic is the second‑to‑last flat. Relative minor keys share the same key signature and are located a minor third below the major tonic.
调号是置于谱表开头的升号或降号组，用以指示调性中心。升号调的顺序为 F♯、C♯、G♯、D♯、A♯、E♯、B♯；降号调的顺序为 B♭、E♭、A♭、D♭、G♭、C♭、F♭。升号大调的主音位于最后一个升号的上一半音；降号大调的主音是倒数第二个降号。关系小调使用相同的调号，位于大调主音下方小三度。
Modes such as Dorian (D to D on the white keys) and Mixolydian (G to G) are frequently encountered in jazz and folk music, and they can be understood as alterations of the major or natural minor scale. The pentatonic scale (scale degrees 1, 2, 3, 5, 6 of a major scale) is a fundamental building block in many world music traditions and in 20th‑century compositions.
中古调式（如多利亚调式，白键 D 到 D；密克索利底亚调式，白键 G 到 G）常见于爵士和民间音乐，可理解为对大调或自然小调音阶的变形。五声音阶（大调音阶的 1、2、3、5、6 级）是许多世界音乐传统及 20 世纪作品中的基本构建模块。
3. Chords and Triads | 和弦与三和弦
A triad is a three‑note chord built by stacking two thirds. The four basic triad qualities are major (major third + minor third), minor (minor third + major third), diminished (minor third + minor third) and augmented (major third + major third). In Roman numeral analysis, uppercase numerals (I, IV, V) denote major triads; lowercase (i, iv, v) denote minor. Diminished chords are indicated with a degree sign (vii°) and augmented chords with a plus sign (V⁺).
三和弦是由两个三度叠置而成的三音和弦。四种基本的三和弦性质为：大三和弦（大三度 + 小三度）、小三和弦（小三度 + 大三度）、减三和弦（小三度 + 小三度）和增三和弦（大三度 + 大三度）。在罗马数字分析中，大写罗马数字（I, IV, V）表示大三和弦，小写（i, iv, v）表示小三和弦。减三和弦以圆圈记号标示（vii°），增三和弦用加号标示（V⁺）。
Seventh chords add another third above a triad. The most common types are: dominant seventh (major triad + minor seventh, e.g. G7: G–B–D–F), major seventh (major triad + major seventh, CΔ7: C–E–G–B), minor seventh (minor triad + minor seventh, Am7: A–C–E–G) and half‑diminished seventh (diminished triad + minor seventh, Bø7: B–D–F–A). The fully diminished seventh uses a diminished triad plus a diminished seventh (B°7: B–D–F–A♭).
七和弦在三和弦之上再叠加一个三度。最常见的类型有：属七和弦（大三和弦 + 小七度，如 G7: G–B–D–F）、大七和弦（大三和弦 + 大七度，CΔ7: C–E–G–B）、小七和弦（小三和弦 + 小七度，Am7: A–C–E–G）和半减七和弦（减三和弦 + 小七度，Bø7: B–D–F–A）。全减七和弦则由减三和弦加上减七度构成（B°7: B–D–F–A♭）。
Chord inversions are labelled with figured bass: root position (5/3, often unwritten), first inversion (6 or 6/3), second inversion (6/4). For seventh chords, the inversions are first (6/5), second (4/3) and third (4/2 or 2). In a functional progression, second‑inversion triads are typically used as passing, pedal or cadential 6/4 chords.
和弦的转位用数字低音标记：原位（5/3，常省略不写）、第一转位（6 或 6/3）、第二转位（6/4）。七和弦的转位为：第一转位（6/5）、第二转位（4/3）、第三转位（4/2 或 2）。在功能和声进行中，三和弦的第二转位通常用作经过 6/4、持续音 6/4 或终止 6/4。
4. Cadences and Phrase Structure | 终止式与乐句结构
Cadences are the musical equivalents of punctuation marks, defining the ends of phrases. The four principal types are: perfect authentic cadence (V–I, both in root position, tonic in soprano), imperfect authentic cadence (V–I with inverted chords or non‑tonic soprano), plagal cadence (IV–I, the ‘Amen’ cadence) and half cadence (ending on V). A deceptive or interrupted cadence resolves V to vi (or occasionally VI) instead of the expected I.
终止式是音乐中的标点符号，界定乐句的结束。四种主要类型为：完全正格终止（V–I，两个和弦均用原位，旋律音落在主音）、不完全正格终止（V–I 使用转位或旋律音不落在主音）、变格终止（IV–I，“阿们”终止）和半终止（停留在 V 级上）。阻碍终止则将 V 解决到 vi（或偶至 VI），而非预期的 I 级。
Phrases are typically built in four‑ or eight‑bar units, forming question‑and‑answer pairs called antecedent and consequent. The period is a two‑phrase structure in which the antecedent ends with a weaker cadence (often half) and the consequent closes with a stronger authentic cadence. Symmetrical phrasing is a hallmark of the Classical style, while Romantic and 20th‑century works often feature irregular phrase lengths.
乐句通常以四小节或八小节为单位构建，形成问答呼应的对偶，称为前句和后句。乐段由两个乐句组成，前句以较弱的终止式（常为半终止）结束，后句以较强的正格终止收束。对称的乐句划分是古典风格的标志，而浪漫时期和 20 世纪作品常出现不规则的乐句长度。
5. Functional Harmony and Chord Progressions | 功能和声与和弦进行
Tonal music is organised around the hierarchy of tonic (I), dominant (V) and subdominant (IV). The fundamental progression model is I – IV – V – I, which can be extended with secondary dominants, diminished sevenths and chromatic alterations. The circle of fifths progression (e.g. vi – ii – V – I) provides a smooth root movement by descending perfect fifths and is essential for understanding harmonic flow.
调性音乐围绕主（I）、属（V）和下属（IV）功能组织。最基本的进行模型为 I – IV – V – I，可通过副属和弦、减七和弦和半音化变音进行扩展。五度循环进行（如 vi – ii – V – I）以根音下行纯五度的方式提供平滑运动，是理解和声流动的关键。
Common chord substitution rules: iii can substitute for I; vi can substitute for I or act as a tonic prolongation; ii can substitute for IV; vii° is a dominant substitute. The leading‑tone triad (vii°) carries a strong tendency to resolve to I. In minor keys, the raised leading tone creates a major dominant chord, intensifying the pull to the tonic.
常用和弦替代规则：iii 级可替代 I 级；vi 级可替代 I 级或充当主功能的延伸；ii 级可替代 IV 级；vii° 级是属功能的替代。导音三和弦（vii°）具有强烈解决到 I 级的倾向。在小调中，升高导音构成大属和弦，加强了向主音的引力。
Chromatic harmony introduces borrowed chords (modal mixture), Neapolitan sixth chords (♭II⁶) and augmented sixth chords (Italian, French, German). These chords increase harmonic colour and intensify the resolution to the dominant or tonic. Linear or voice‑led progressions often use chromatic passing notes and suspensions to create tension.
半音化和声引入了借用的和弦（调式交替）、那不勒斯六和弦（♭II⁶）以及增六和弦（意大利增六、法国增六、德国增六）。这些和弦丰富了和声色彩，并强化了向属或主功能的解决。以声部进行为导向的线性进行常用半音经过音和延留音制造张力。
6. Non‑Harmonic Tones and Embellishments | 和弦外音与装饰音
Non‑harmonic tones (NHTs) are pitches that do not belong to the sounding chord, used to create melodic interest and voice leading momentum. Passing tones connect two chord tones by step; neighbour tones move away from a chord tone and return to it. Suspensions hold over a chord change and then resolve downwards by step; retardations resolve upwards. Appoggiaturas are approached by leap and resolved by step, often accented.
和弦外音（NHT）是不属于当前和弦的音，用于增添旋律趣味和声部进行的动力。经过音以级进连接两个和弦音；辅助音离开一个和弦音后返回。延留音在换和弦时延续前音，然后级进下行解决；反向的延留称为上行延留音。倚音由跳进引入、级进解决，通常落在强拍。
The anticipation sounds a chord tone before the chord arrives, usually at the end of a phrase. The escape tone (échappée) is a stepwise motion from a chord tone followed by a leap in the opposite direction to the next chord tone. Trills, mordents and turns are ornamental figures that embellish a melodic line and should be analysed as configurations of non‑harmonic tones.
先现音在和弦到达之前先行出现，通常位于乐句末尾。逃逸音（échappée）是从一个和弦音级进后再反向跳进至下一个和弦音。颤音、波音和回音是装饰性的旋律点缀，应被分析为非和弦音的组合形态。
7. Rhythm, Metre and Tempo | 节奏、节拍与速度
Metre is the recurring pattern of strong and weak beats. Simple metres divide the beat into two equal parts (e.g. 2/4, 3/4, 4/4); compound metres divide the beat into three equal parts (e.g. 6/8, 9/8, 12/8). Asymmetrical metres such as 5/4 or 7/8 are common in folk music and 20th‑century repertoire. The time signature’s upper number indicates the number of beats per bar; the lower number indicates the note value that represents one beat.
节拍是强拍与弱拍的循环模式。单拍子将每拍均分为二（如 2/4、3/4、4/4）；复拍子将每拍均分为三（如 6/8、9/8、12/8）。不对称节拍如 5/4 或 7/8 在民间音乐和 20 世纪曲目中常见。拍号的上方数字表示每小节的拍数，下方数字表示以何种音符为一拍。
Syncopation occurs when a note is accented on a normally weak beat or between beats, displacing the regular metric accent. Cross‑rhythms and hemiola (the momentary implication of 3/2 against 6/4, or similarly) add rhythmic complexity. Tempo markings such as Allegro, Andante, Adagio guide the speed of performance; metronome marks give precise beats per minute.
切分音是在通常为弱拍的位置或拍与拍之间施加重音，从而打破了常规的节拍重音规律。交错节奏和赫米奥拉比例（如 6/4 中临时暗示 3/2 的感觉）增加了节奏的复杂性。速度标记如 Allegro、Andante、Adagio 指导演奏速度；节拍器记号则给出精确的每分钟拍数。
8. Texture and Instrumentation | 织体与配器
Texture describes the relationship between musical lines. Monophony is a single unaccompanied melodic line. Homophony features a melody with chordal accompaniment, often found in Lieder and hymns. Polyphony (counterpoint) presents two or more independent melodies simultaneously; imitative polyphony uses canonic or fugal entries. Heterophony is the simultaneous variation of a single melody, common in non‑Western traditions.
织体描述音乐线条之间的关系。单声部织体是一条无伴奏的旋律线。主调织体以旋律加和弦伴奏为特征，常见于艺术歌曲和赞美诗。复调织体（对位法）同时呈现两条或多条独立旋律；模仿复调运用卡农式或赋格式的进入。支声复调是同一旋律的同时变体，常见于非西方传统。
Standard orchestral families are strings (violin, viola, cello, double bass), woodwinds (flute, oboe, clarinet, bassoon), brass (trumpet, horn, trombone, tuba) and percussion. Transposing instruments, such as the B♭ clarinet and French horn in F, require careful scoring: a written C sounds as B♭ or F respectively. The piano is a non‑transposing concert‑pitch instrument.
标准管弦乐家族包括弦乐（小提琴、中提琴、大提琴、低音提琴）、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。移调乐器，如 B♭ 单簧管和 F 调圆号，需要谨慎记谱：记谱 C 分别发出 B♭ 或 F 的音高。钢琴是不移调的实际音高乐器。
9. Melodic Construction and Motives | 旋律构建与动机
A motive is the smallest identifiable musical idea, often consisting of a distinctive rhythmic and pitch pattern. Motives can be developed through repetition, sequence (transposing the motive to a different pitch level), augmentation (longer note values), diminution (shorter note values), inversion (reversing interval direction) and retrograde (playing backwards). The motivic analysis is central to understanding composers such as Beethoven and Schoenberg.
动机是最小的可辨识的音乐乐思，常由独特的节奏与音高形态构成。动机可通过重复、模进（将动机构移位到不同音高上）、增值（音值加长）、减值（音值缩短）、倒影（音程方向反转）和逆行（反向演奏）进行发展。动机分析是理解贝多芬、勋伯格等作曲家作品的核心工具。
Melodic contour and phrasing are shaped by stepwise motion (conjunct) and leaps (disjunct). A balanced melody often follows an arch shape, rising to a climax then falling. The period and sentence are two fundamental thematic structures. A sentence typically has a two‑bar basic idea repeated, followed by fragmentation and a cadential closure.
旋律轮廓与乐句划分受级进（连贯）和跳进（断连）的影响。平衡的旋律常呈拱形，上升至高潮后下落。乐段和乐句是两个基本主题结构。乐句型（sentence）通常包含重复的两小节基本乐思，随后进行分裂，并以终止收束。
10. Forms and Structural Plans | 曲式与结构布局
Binary form (AB) consists of two sections, each usually repeated. Rounded binary returns to the opening material in the latter part of the second section. Ternary form (ABA) features a contrasting middle section and a return of the opening, with the return often ornamented. Sonata form is a large‑scale structure with exposition (primary and secondary themes in contrasting keys), development, and recapitulation (both themes in the tonic).
二段体（AB）由两个部分构成，各部分通常反复。带再现的二段体在第二部分的后半返回开头的材料。三段体（ABA）包含对比性的中间段以及对开头的再现，再现时常加花变奏。奏鸣曲式是一种大型结构，由呈示部（主部主题与副部主题在对比调性上呈现）、展开部和再现部（两个主题回到主调）组成。
Rondo form alternates a recurring refrain (A) with contrasting episodes (e.g. ABACA or ABACABA). Theme and variations form presents a theme followed by a series of altered versions. Fugue is a contrapuntal form built on a subject that enters in different voices successively (exposition), followed by episodes and further entries. In vocal music, strophic form uses the same music for each verse; through‑composed sets different music to each stanza.
回旋曲式将反复出现的迭句（A）与对比性插部交替（如 ABACA 或 ABACABA）。主题与变奏曲式先呈示主题，随后接一系列变形版本。赋格是一种对位曲式，以在不同声部依次进入的主题为基础（呈示部），随后是间插段和再度进入。在声乐作品中，分节歌形式给每一段歌词配相同的音乐；通谱歌则为每段诗节创作不同的音乐。
11. Expressive Devices and Articulation | 表情手法与奏法
Dynamics range from pianississimo (ppp) to fortississimo (fff), with gradual changes indicated by crescendo (cresc.) and diminuendo (dim.) or decrescendo (decresc.). Sudden dynamic changes such as sfz (sforzando), fp (fortepiano) and accents create dramatic emphasis. Articulation marks, including staccato (short, detached), legato (smooth, connected), tenuto (held full value) and marcato (marked, accented), define the character of note attacks.
力度范围从极弱（ppp）到极强（fff），渐强（cresc.）和渐弱（dim. 或 decresc.）表示逐渐变化。突强（sfz）、强后即弱（fp）和重音记号等瞬间力度变化营造戏剧性强调。奏法标记包括断奏（短促分离）、连奏（平滑连贯）、保持音（充分时值）和强调（突出加重），它们界定了音符起奏的特性。
Performance directions often appear in Italian: dolce (sweetly), cantabile (in a singing style), agitato (agitated), pesante (heavy). Tempo modifications such as rubato (flexible tempo), accelerando (getting faster) and rallentando (slowing down) are essential for expressive interpretation. Ornaments — trills, mordents, turns, appoggiaturas and acciaccaturas — add detail and should be executed according to the stylistic conventions of the period.
演奏指示常用意大利语：dolce（柔美地）、cantabile（如歌地）、agitato（激动地）、pesante（沉重地）。弹性速度（rubato）、渐快（accelerando）和渐慢（rallentando）等速度细微变化对表情诠释至关重要。装饰音——颤音、波音、回音、倚音和碎音——增添细节，应根据各时期的风格惯例来演绎。
12. Set Theory and 20th‑Century Techniques | 音级集合理论与 20 世纪技法
In post‑tonal music, pitch‑class set theory provides a systematic way to analyse atonal music. A set is a collection of pitch classes reduced to prime form (the most compressed, left‑packed grouping). Common sets include (0,1,4) and (0,1,6). Transposition and inversion are basic operations; the interval vector describes the intervallic content of a set, aiding comparison.
在后调性音乐中，音级集合理论为分析无调性音乐提供了系统方法。一个集合是一组音级，化为原型（最紧密、左靠的排列）。常见的集合包括 (0,1,4) 和 (0,1,6)。移位和倒影是基本操作；音程向量描述了集合的音程含量，便于对比。
Twelve‑tone technique (dodecaphony) organises all twelve chromatic pitch classes into a row, which can be used in prime, retrograde, inversion and retrograde‑inversion forms. Compositional devices such as serialism extend the principle to dynamics, articulation and timbre. Indeterminacy and graphic scores challenge traditional notation; aleatoric music introduces elements of chance.
十二音技术（十二音体系）将全部十二个半音组织成一个序列，可采用原型、逆行、倒影和逆行倒影等形式进行创作。序列主义等手法把这一原则扩展到力度、奏法和音色。不确定性音乐和图表乐谱挑战传统记谱法；偶然音乐引入了随机元素。
Modes of limited transposition, as defined by Messiaen, include the whole‑tone scale (Messiaen’s Mode 1) and the octatonic scale (Mode 2, alternating whole and half steps). Quartal and quintal harmony builds chords on fourths and fifths rather than thirds, producing an open, ambiguous sonority. Tone clusters and extended instrumental techniques expand the sonic palette of the 20th century.
梅西昂定义的有限移位调式包括全音音阶（梅西昂的第一调式）和八音音阶（第二调式，全音和半音交替）。四度和声与五度和声以四度、五度叠置代替三度叠置，产生空旷、模糊的音响。音簇和扩展演奏技法拓展了 20 世纪的声音色彩。
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Cancel reply