stretto

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stret·to

 (strĕt′ō)
n. pl. stret·ti (strĕt′ē) or stret·tos Music
1. A close succession or overlapping of statements of the subject in a fugue, especially in the final section.
2. A final section, as of an opera, performed with an acceleration in tempo to produce a climax. Also called stretta.

[Italian, narrow, stretto, from Latin strictus, strict; see strict.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

stretto

(ˈstrɛtəʊ)
n, pl -tos or -ti (-tiː)
1. (Classical Music) (in a fugue) the close overlapping of two parts or voices, the second one entering before the first has completed its statement of the subject
2. (Classical Music) Also called: stretta a concluding passage in a composition, played at a faster speed than the earlier material
[C17: from Italian, from Latin strictus tightly bound; see strict]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

stret•to

(ˈstrɛt oʊ)

n.
the overlapping of statements of a fugal subject.
[1745–55; < Italian: literally, narrow < Latin strictus. See strict]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
References in periodicals archive ?
Over the course of the fugue, the three subjects are presented in numerous invertible combinations, tonalities, and strettos, exploring their contrapuntal potential with the same rigor so frequently found in Sala's partimenti.
2), as well as their rhythmically delicate passages (the strettos in the first movement of Symphony No.
Certain note combinations, for example parallel fifths, are generally forbidden, whereas variations on the main theme, such as inversions (playing the theme backwards), strettos (introducing a counter theme before the whole theme has been articulated), modulations and transpositions are required.