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.SKIP 2
.CENTER		
CHAPTER X
.SKIP 2
.CENTER			
THE COMPLETE MUSICAL MOVEMENT:  WAGNER
.SKIP 1
.INDENT 6
.FILL
.ADJUST
.SELECT 1
	It is undoubtedly Wagner's intention to leave many things in
the harmony of the Prelude to %2Tristan und Isolde%1 ambiguous and
unresolved.  In this case ambiguity is a positive value which is
used in a specific manner to convey the particular attitudes of the
opera -- attitudes of mystery and unfulfilled desire.  (These same
attitudes permeate much 19th-century art.)  On every level, things
are relatively difficult to pin down.  Which are chord notes and 
which are non-chord notes?  When is the ever-present chromaticism
functional and when non-functional?  What tonic is really being
defined at any given time?  Etc., etc.  

	The first three unaccompanied notes give us no immediate clue
to any function.  In the second measure the situation is still
doubtful.  There, the famous "Tristan" chord appears.  Our first hope
of understanding the tonal roles of the sounds thus far heard comes
in measure 3 with the easily recognized, dominant functioning, E7 chord.
As we scan the score ahead, we find very few simple triads in
rhythmically strong positions and virtually no direct dominant-tonic
relationships.  Thus the various temporary tonics tend to be somewhat
obscured.  Although the overall key of ↓_a_↓-↓_A_↓ generally seems to persist,
there are rather few A chords and the Prelude finally establishes the 
dominant of ↓_c_↓ at the end.  (Of course, the Prelude is, in the largest
sense, only a %2part%1 of a vast and continuous work.)  So with this music,
it is best to assume very little beyond the fact that, in consideration
of its historical position, it is ultimately based on the conventions
of functional tonality.  (Thus all the "structural" vertical
occurrences must be based on superimposed thirds, etc.)

	To approach this work leading from the largest to the small
units may give a little more difficulty than was found with the
Mozart Sonata, since there seems here to be such a great emphasis
on detail.  And, to be sure, many of the large units may be hard
to relate to without first grasping the details which form them.
In fact, the same problem was faced in Mozart's development section,
where the harmonic details became so involved that the particular
tonality of the background tended to lose its importance.  However,
from the widest view, a few things in the Prelude can easily be
noted:  the A-B-A, or arch form -- especially the return to the
opening material during and following the climax at bars 82-84, etc.,
and the dominant pedal notes, E at bars 63-70 and G at 100-111.

.BEGIN VERBATIM

Figure 95
.END
.CENTER
%6⊂⊗⊃L[α%0.05,α%-0.94]:N95F.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 4
.fill indent 6


	Referring back to details, we have noticed the first clear
function in the piece (in measure 3) to be the dominant of ↓_a_↓; and
then looking (and of course, always listening) a little beyond, we
see the dominant of ↓_C_↓ in measure 7.  At this point it should begin
to be clear that, in this piece, the various tonics of the upper
two levels of our analysis probably will be defined almost entirely
by functions other than tonic on the lowest level.

	For the definition of the middle ground tonics, it is always
well to look for clues in the phrase structure, as it is outlined
by rhythmic and melodic occurrences and their orchestration, in
addition to considering the harmonic end points.  The "A" section
of the form, the first 17 bars, is a sort of introduction made up
of a freely sequential series of utterances leading to a strong
deceptive cadence in ↓_a_↓.  These first short phrases will be dealt
with later.  The first division in the "B" section is marked by 
the melodic chromatic scale, rhythmic agitation, and an authentic
feminine cadence on ↓_A_↓ at measure 24.  At measure 36 the division
is defined by the cadence on ↓_d_↓ and the following abrupt change of
orchestration, etc.  Again a phrase ends with a deceptive cadence,
this time in ↓_c%4S%1_↓ at bar 44.  The next, somewhat longer, section
elides with the E pedal at bar 63.  Thus far we have:

.BEGIN VERBATIM

Figure 96a
.END
.CENTER
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.SKIP 4
.fill indent 6

	Starting at 63 we have new material which is combined with
a varied form of the introduction material, leading again to an ↓_a_↓
deceptive cadence at bar 74.  The phrases are elided once more
and the new one extends to the brief recurrence of the dominant
pedal at 84.  The next phrase really begins back at bar 80, but it
does not emerge as independent until bar 84, where the original
character of the "A" section (or introduction) is apparent.  This
material is at first somewhat compressed and leads to the familiar
↓_a_↓ deceptive cadence at measure 94.  The next short phrase, using
material from the "B" section, arrives on the dominant G of the
timpani in bar 100.  The rest of the music is an extension of that
arrival.  More detail, or less, might have been considered for
this step of the analysis, but the overall result would be just
about the same.  For the whole Prelude we have at this point:

.BEGIN VERBATIM

Figure 96b
.END
.CENTER
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.fill indent 6
.NEXT PAGE
	The previous diagram indicates the tonics of arrival.  These will not
necessarily be related %2directly%1 to one another in the final
analysis. Obviously, the large form of this piece does not depend
strongly on the contrast of %2basic%1 tonalities.  The preponderance
of ↓_a_↓-↓_A_↓, at least as the controlling tonality of the main goals,
is clear. However, the harmony wanders rather far afield between
the various end points, so it would be premature to consider that
these points are %2directly%1 related.  Let us now concern ourselves
with the harmonic details and the tonic definitions on the 
smallest scale.

	The opening eleven bars consist of a free sequence in three
parts, each ending with a 7th chord -- E7, G7, B7.  There is no
reason to suspect anything other than dominant function for any
of these chords, so we may express them as %7a%1, %7C%1, %7E%1, thus defining
as tonics the parts of the a-minor triad.  This, and the deceptive
cadence at 17, establishes ↓_a_↓, perhaps indirectly, but nonetheless
firmly.
.begin verbatim

Figure 97

.end
.skip 5
.fill indent 6

	In dealing with the other harmonies in the section, we must
give primary consideration to the melodic device of the appoggiatura.
The most obvious appoggiaturas occur on each of the above-mentioned
7th chords.  The roles of all the other notes tend to become clear
when we realize that most of the melodic chord tones are preceded
by appoggiaturas, some of which last many times longer than the
note of resolution.  At the beginning, every other note in the main
melodic parts is an appoggiatura.  The opening bars might be
condensed thus:
.begin verbatim

Example 98

.end
.skip 6
.begin verbatim

Figure 98

.end
.skip 3
.fill indent 6
	A similar process occurs in measures 4-7, but here the second
note (G%4S%1) should read A%4F%1 in order that it be an appoggiatura to G%4N%1.
However, the G%4S%1 and the preceding B are heard as an incomplete
continuation of the E7 chord.  Looking backward, the G%4S%1 is a chord note;
looking forward, it is a non-chord note.  Carrying this point of view
even further, it will be noted that if the A%4F%1 of bar 6 is considered as
G%4S%1, then the first sound of that bar may be heard as the incomplete
extension to the 9th of the E7th chord.  Thus the highest note, B,
also has a double role as both a chord and non-chord note.  One possible
way of showing this sort of thing follows:

.begin verbatim

Figure 99

.end
.skip 5
.fill indent 6

	The third phrase of the introduction works a little differently,
since its goal (the B7 chord) is a major third higher than the preceding
goal.  (The first two goals, E7 and G7, were separated by a minor third.)
The second note of the phrase, B, is now a simple chord note which is
followed by two chromatic passing notes.  The shift to the next tonic
is delayed until the end of bar 10.  The sound at the beginning of bar 10
is quite acceptable as ↓_C_↓: %8I%1 (G%4S%1=A%4F%1).  In terms of what follows,
however, both the D and D%4S%1 are non-chord tones leading upward to E, and
the F is a long appoggiatura going downward to E.  The resultant chord
notes then are C-E-G%4S%1-E, or %4N%1VI%4S5%1 of the ↓_E_↓ tonic.  Such action becomes
commonplace in this piece.  When the passage of bars 10-11 is echoed,
it is analyzed only in its latter role.
.begin verbatim

Figure 100

.end
.skip 7
.fill indent 6


	The next section, now with a continuous melodic line, offers
new problems.  Now all the tonicizations come more rapidly.  The
progress of the music from 17 to 19 seems to be toward ↓_G_↓ as the 
dominant of ↓_C_↓, and then on to ↓_d_↓ as vi of ↓_F_↓ at 21.  Then the dominant
of ↓_d_↓ ascends to the dominant of ↓_e_↓ at 23, which in turn becomes major
and the dominant of ↓_A_↓.