258. At one bar's distance we can get a stretto in the fifth below.
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 } \\ { R1 f2 e4 c | d e f g8 a | e4 f8 g a4 g | f8 g f e d4 e8 d | c4 } >> }](http://upload.wikimedia.org/score/2/7/27us5k4drnnk4hg0l7ragcc8le3x3e8/27us5k4d.png)
We might here also have preserved the tonal form of the answer by treating the A in the second bar as an accented passing note.
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f << { c2 b4 g | a b c d8 c } \\ { R1 g2 e4 c } >> }](http://upload.wikimedia.org/score/g/8/g8mhkjfwxifgeqd9ekicptb7aifrxot/g8mhkjfw.png)
In the fourth bar we have varied the rhythm of the imitating voice, to retain the subject in the leading voice for half a bar longer. Obviously we could not write
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f << { c8 d c b a4 } \\ { e4 f g a8 g } >> }](http://upload.wikimedia.org/score/7/u/7ui1hyx3rygweolmtsxdwl8i028orvp/7ui1hyx3.png)
Such slight modifications, either of rhythm or melody, are very common, and always permissible in a stretto. We now give the inversion of the above.
![\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f
\new Staff \relative f'' { \key c \major \time 2/2 \mark \markup \tiny { (\italic"b") }
R1 f2 e4 c | d e f g8 f | e4 f8 g a4 g | f8 g f e d4 e8 d | c }
\new Staff \relative c' { \clef bass \key c \major
c2 b4 g | a b c d8 c | b4 c d e8 d | c d c b a4 s | s1 s4 } >>](http://upload.wikimedia.org/score/4/k/4kuto4k1sfpvj6lyy1u5zaq2mibqowl/4kuto4k1.png)
259. Lastly, we can make a stretto with this subject at only half a bar's distance.
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { c2 b4 g | a b c d8 c | b4 c d e8 d | c4 } \\ { r2 g | f4 d e f | g a8 g f4 g | a b8 a g a g f } >> }](http://upload.wikimedia.org/score/3/n/3nr834j0q7y4diyt8ojomz8hzvam55f/3nr834j0.png)
Like most of the preceding, this stretto can be inverted in the octave.
![\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"b") } << { r2 g | f4 d e f | g a8 g f4 g | a b8 a g a g f } \\ { c2 b4 g | a b c d8 c | b4 c d e8 d | c4 } >> }](http://upload.wikimedia.org/score/c/y/cy4uv0jfjpq9qayrx7g2xvo4ou0xwk7/cy4uv0jf.png)
260. If now we begin with the answer instead of the subject, we shall obtain a different series of stretti, though resembling those already given in their general character.
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { R1*3 c2 b4 g | a b c d8 c } \\ { g2 e4 c | d e f g8 f | e4 f g a8 g | f g f e d4 e8 d | c4 } >> }](http://upload.wikimedia.org/score/p/e/pe6cdewfvp4br46q8rylwsgqg0rjjmm/pe6cdewf.png)