| A | B |
|---|
| Terraced dynamics | sudden shift between loud and soft |
| Figured bass | Bass part with numbers (figures) similar to chord symbols in pop and jazz music; saved paper-shorthand |
| Movement | sounds fairly complete and independent, but is part of larger work; usually contrast in style and theme; two and three-part forms common (Binary A-B and Ternary A-B-A) |
| Subject | Polyphonic composition based on one theme ( in Fugue) |
| Answer | Subject imitation 5 pitches higher (usually 2nd entrance of subject) |
| Stretto | subject is imitated before it is completed-builds intensity |
| Inversion | turn subject upside down |
| Augmentation | original time values are lengthened (usually doubled) |
| Prelude | Independent work usually introduced by shorter piece |
| Libretto | opera text written by librettist; composers collaborate with libbrettist |
| Aria | A song for solo voice with orchestral accompaniment, clear display of emotion, not as much action, complete piece with clear ending; example Nessum dorma sung by Favarotti |
| Recitative | a vocal line that imitates rhythms and pitch fluctuations of speech; words are sung quickly and clearly, often on repeated tones, usually one note to syllable (opposite of aria), connects the melodic sections of opera |
| Overture (prelude) | piece in opera performed only by orchestra, usually at the beginning of the opera or act |
| Castrato | male singer who was castrated before puberty (common), lung power of a man with agility and range of a woman, highest paid vocalists |
