Here the subject enters three bars after the answer. We give the inversion.
![\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"b") } << { g2 e4 c | d e f g8 f | e4 f g a8 g | f g f e d4 e8 d | c4 } \\ { R1*3 c2 b4 g | a b c d8 c } >> }](http://upload.wikimedia.org/score/q/f/qfgkfl9ta1l3t5dhot2nq6pkmkzeshs/qfgkfl9t.png)
261. We next show the answer followed by the subject at two bars' distance.
![\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { g2 e4 c | d e f g8 f | e4 f g a8 g | f4 g8 f e2 } \\ { R1*2 c2 b4 g | a b c d8 c | b4 c d e8 d } >> }](http://upload.wikimedia.org/score/4/6/4695mjwpytdbxuef2lzxc88ws12jikx/4695mjwp.png)
It will be seen that the leading voice cannot here continue the subject to the end. This imitation inverts as follows—
![\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f
\new Staff \relative c'' { \key c \major \time 2/2 \mark \markup \tiny { (\italic"b") }
R1*2 c2 b4 g | a b c d8 c | b4 c d e8 d_"&c." }
\new Staff \relative g { \key c \major \clef bass
g2 e4 c | d e f g8 f | e4 f g a8 g | f4 g8 f e2 | s1 } >>](http://upload.wikimedia.org/score/t/n/tn8axjjixwlepo1on7ybqqtlddp4qh7/tn8axjji.png)
262. At one bar's distance the answer cannot be comfortably imitated by the subject. Here, therefore, we make the imitation in the octave; and even at this interval we cannot continue it long.
![\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f << { g2 e4 c | d e f g8 f | e4 } \\ { R1 g,2 f4 d | e f g a8 g } >> }](http://upload.wikimedia.org/score/q/0/q0v9388r1x3455tzk4tgdc6odnj3hls/q0v9388r.png)
263. At half a bar's distance, it is possible to reply with the subject, and the imitation can be continued somewhat farther than in the last example.
![\relative c'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"a") } << { r2 c2 | b4 g a b | c d8 c b4 c | d e8 d c d c b } \\ { g2 e4 c | d e f g8 f | e4 f g a8 g | f4 } >> }](http://upload.wikimedia.org/score/6/s/6s6v0hya6uegw2eoq6piigwqhqy38u3/6s6v0hya.png)
The above will also invert—
![\relative g'' { \key c \major \time 2/2 \override Score.TimeSignature #'stencil = ##f \mark \markup \tiny { (\italic"b") } << { g2 e4 c | d e f g8 f | e4 f g a8 g | f4 } \\ { r2 c2 | b4 g a b | c d8 c b4 c | d e8 d c d c b } >> }](http://upload.wikimedia.org/score/4/q/4q75e50xsnehvya4gbjathuo2h47to9/4q75e50x.png)
264. Hitherto we have only given stretti in two parts; but the subject we have chosen will also work in stretto in