Here, though the interval of entry is irregular, there is a certain symmetry observable; the alto is a fourth below the treble, and the tenor a fifth above (the inversion of a fourth below) the bass. Such slight modifications of the subject as are seen in the tenor here are always permissible in a close stretto. The first notes of the bass are the conclusion of an entry of the subject in that voice.
278. Another interesting example of the stretto maestrale is seen in the following—
J. S. Bach. Wohltemperirtes Clavier, Fugue 29.
![\new ChoirStaff << \override Score.Rest #'style = #'classical
\new Staff \relative a' { \key d \major \time 4/4 \partial 2
a8 \[ a'^"S" a a | d,4 fis ~ fis8 b, e d | cis2 \] c ~ }
\new Staff \relative e' { \key d \major
e8 r r \[ fis' | fis fis b,4 d4. gis,8 | cis b a4 ~ \] a8 b fis e }
\new Staff \relative e { \clef tenor \key d \major
e8 r r4 | r8 \[ d' d d gis,4 b ~ | b8 e, a g fis4. \] a8 }
\new Staff \relative c { \clef bass \key d \major
cis8 a d cis | b r r \[ b' b b e,4 | g!4. cis,8 fis e d4 ~ \] } >>](http://upload.wikimedia.org/score/h/f/hfresfytpfwflqnut3jj9wwhyrmwuqn/hfresfyt.png)
Here the distances of entry are regular, both as regards time and interval, each voice entering a third (or tenth) below, and a crotchet after the preceding. The entries of alto and bass are consequently per arsin et thesin. Even a finer example may be seen in the fugue which forms the finale of Mozart's "Jupiter" symphony. The passage was quoted in Double Counterpoint, § 305, as an illustration of close imitation.
279. There is still one variety of stretto to be mentioned. Sometimes, though comparatively seldom, the first exposition of the fugue is in stretto, the answer entering before the completion of the subject, and very often immediately after its commencement. In such cases the second pair of voices will mostly follow the first pair with subject and answer at the same distance of interval and time.
