Fugue vs. Stretto — What's the Difference?

A method of composition that employs a systematic approach to theme and development.

Often used at the climactic moment of a piece to enhance the emotional impact.

A polyphonic composition based on one main theme, or subject.

A technique used to increase tension and drive towards a climax in musical compositions.

A musical form where a theme is echoed and imitated by successively entering voices.

A section where voices or instruments enter in quick succession, overlapping thematic material.

A work in which independent lines come together through imitation.

Part of larger compositions, typically occurring towards the end to bring themes together.

A structured piece where the theme is explored through various contrapuntal procedures.

A passage in fugue where subjects are stated closer together than before, creating overlap.

In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e.

In music, the Italian term stretto [ˈstretto] (plural: stretti) has two distinct meanings: In a fugue, stretto (German: Engführung) is the imitation of the subject in close succession, so that the answer enters before the subject is completed. In non-fugal compositions, a stretto (also sometimes spelled stretta) is a passage, often at the end of an aria or movement, in faster tempo.

(Music) A contrapuntal musical composition whose basic structure consists of a theme or themes stated successively in different voices.

A close succession or overlapping of statements of the subject in a fugue, especially in the final section.

(Psychiatry) A dissociative state, usually caused by trauma, marked by sudden travel or wandering away from home and an inability to remember one's past.

A final section, as of an opera, performed with an acceleration in tempo to produce a climax. Also called stretta.

(music) A contrapuntal piece of music wherein a particular melody is played in a number of voices, each voice introduced in turn by playing the melody.

(music) The presence of two close or overlapping statements of the subject of a fugue, especially towards the end.

Anything in literature, poetry, film, painting, etc., that resembles a fugue in structure or in its elaborate complexity and formality.

(music) An acceleration in the tempo of an opera that produces an ending climax.

A fugue state.

(music) With gradually increasing speed.

To improvise, in singing, by introducing vocal ornamentation to fill gaps etc.

(music) Having gradually increasing speed.

A polyphonic composition, developed from a given theme or themes, according to strict contrapuntal rules. The theme is first given out by one voice or part, and then, while that pursues its way, it is repeated by another at the interval of a fifth or fourth, and so on, until all the parts have answered one by one, continuing their several melodies and interweaving them in one complex progressive whole, in which the theme is often lost and reappears.

The crowding of answer upon subject near the end of a fugue.

Dissociative disorder in which a person forgets who who they are and leaves home to creates a new life; during the fugue there is no memory of the former life; after recovering there is no memory for events during the dissociative state

A dreamlike state of altered consciousness that may last for hours or days

A musical form consisting of a theme repeated a fifth above or a fourth below its first statement

A fugue is distinguished by its systematic use of a single theme or subject that is introduced by one voice and then imitated by other voices in succession, adhering to specific rules of counterpoint.

Composers use strettos to bring themes closer together at shorter intervals than previously stated, creating an overlapping, denser texture that increases excitement and anticipation.

A stretto can lead to the climactic resolution of a fugue by intensifying the thematic interplay and pushing the musical tension to its peak before resolving.

A stretto is typically found towards the climax of a fugue, often used to intensify the overall dramatic effect by overlapping entries more closely.

Yes, Bach's "The Art of Fugue" and his Fugues in the "Well-Tempered Clavier" are noted for their masterful use of stretto, among other classical works.

No, a stretto is not necessary in every fugue, but it is a common technique used to enhance the musical tension and complexity towards the end of many fugues.

Composing a fugue requires a deep understanding of counterpoint, thematic development, and a good grasp of harmonic and formal structures in music.

A background in music theory, especially knowledge of counterpoint and classical composition techniques, is essential for understanding the structure and purpose of fugues and strettos.

Performers must articulate each voice clearly, manage complex overlapping lines, and maintain the structural clarity of the music, which can be particularly challenging in the dense texture of a stretto.

Fugues and strettos showcase a composer's skill in thematic development, structural design, and contrapuntal weaving, reflecting a high level of musical craftsmanship and creative thinking.

Yes, a stretto can appear in various musical forms, not just in fugues, where it serves to heighten tension or build towards a climactic moment.

Yes, the concept of a stretto can be adapted into modern music genres, particularly in progressive rock and jazz, where composers look to add complexity and intensity to their arrangements.

The introduction of a stretto in a fugue typically heightens the listener's engagement by increasing the musical intensity and complexity, making the listening experience more dynamic and dramatic.