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	The following E pedal point maintains a powerful dominant
function (bars 63-70).  The harmonies which support the ascending
scale of high points in the main line will appear in parentheses
in the final analysis.  Note in the orchestration that the oboes
and English horn are reserved a few bars for the first reappearance
of the "desire" motive (at 66-67) since the opening of the work.
The large sense of the progression in the bars of 63-74 is
the same as at the beginning:
.CENTER
%6⊂⊗⊃L[α%0.00,α%-0.56]:106B.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 2
.fill indent 6
	This passage can be considered as a kind of premature 
recapitulation; premature, because even though the opening motive and 
progression are present, the extreme turbulence of the string parts
creates a texture far different from that found in the opening and
again at bar 84.

	Though the C in bar 70, just before the double bar, might be
considered a chromatic passing tone, it is, by analogy with the
opening of the piece, an integral part of an F6  (French sixth) 
function in ↓_C_↓.  Thus the preceding B may be considered either a part
of a Vs of ↓_A_↓ or an appoggiatura to the note C.  Notice in the
following analysis of bars 70-74 how this ambiguity is indicated.
(See also Figures 99 and 100.)

.begin verbatim

Figure 107
.end
.skip 8
.fill indent 6
	Beginning in bar 74 we have again another variant of the
material of 17-25.  ↓_C_↓ is the most important tonic until the middle
of bar 76.  The music in bars 76-84 goes out on a harmonic "limb"
from which it escapes in a most remarkable manner.  The C roll in
the timpani at 76 perhaps weakens the functional possibilities of
the woodwind's C%4S%1.  However, ↓_d_↓ will be listed as tonic at that
point, since most of the other parts are also pulling away from the
↓_C_↓ tonic.  The chord of the first half of bar 77 is assumed to be
C-E%4F%1-G-B%4F%1, the A of the main line being a lower neighbor note.
The same point of view gives us C-E%4F%1-G%4F%1-B%4F%1 on the first
quarter-note of bar 79.  However, at 80 the E%4F%1 moves to a held D
in the horn part, so at this point the E%4F%1 is best considered an
appoggiatura.  The orchestration should always be checked for such
details.  The following example gives the bass and chord outline
of bars 76-84.
.next page
.begin verbatim
Example 108
.end
.skip 10
.begin verbatim
Figure 108
.end
.skip 13
	In Example 108, even though the movement toward the tonicization
of B%4F%1 in bars 77 and 78 is quite strong, the following function of
B%4F%1 as the dominant of ↓_e%4F%1_↓ is much more extensive.  Hence the
immediate shift to ↓_e%4F%1_↓ as a higher tonic at 78.  It is by means of
the large percentage of substitute functions in bars 76 to 78 that
Wagner is able to move so smoothly from ↓_C_↓ to ↓_e%4F%1_↓.  The master
stroke comes in bars 83 and 84, where Wagner changes the A%4F%1 of the
II chord of ↓_e%4F%1_↓ into a G%4S%1 appoggiatura which moves to the chord note
A of the F6 of ↓_a_↓.$$Recall the less striking but similar situation at
bar 70 and likewise earlier in the piece, measures 6 and 10.  See pages
zzz and zzz.$  At this point the only link between ↓_e%4F%1_↓ and ↓_a_↓ 
(minor tonics a tritone apart!) is through the tonicization of the
dominant of ↓_a_↓, which is achieved by means of the alternative
interpretation of the F6 chord as an altered dominant of ↓_E_↓ (↓_E_↓=↓_F%4F%1_↓,
%4F%1II of ↓_e%4F%1_↓).  An F6 chord may always be considered in this light
(see page 51), but it is rare when the whole sense of a progression
depends on such a double, or, considering the enharmonic A%4F%1=G%4S%1,
triple meaning.  There are many similar situations throughout the
opera.  %2The power of the "Tristan chord" lies not in any particular
static vertical quality but in the multitude of tonics which it may
involve, depending on the roles of its various notes as chord or
non-chord tones%1.  (Note bars 89 and 101.)

	After a few bars which parallel the Prelude's opening, material
taken from 36-40 is interjected before the reappearance of the 
familiar ↓_a_↓ deceptive cadence at 94.

.begin verbatim

Figure 109
.end
.skip 5

.fill indent 6
	It is seen above that measure 89 offers another "escape" from
the "Tristan chord".  There are no non-chord tones in this usage and
the F6 function comes on a new bass note.

	In bar 94 begins a last and fragmented form of the material
of 17-24.  The ↓_C_↓ quality is maintained, even through a return of
the Prelude's opening three bars with only two notes changed.

.begin verbatim

Figure 110
.end
.skip 5

.fill indent 6
	At 101 we have seen new contrapuntal roles for the members of
the "Tristan chord".  Here the D%4S%1 became E%4F%1, a long chromatic
passing note to D.  Wagner has written G%4S%1, but A%4F%1 would have been
more consistent with the present function as a diminished substitute
for the dominant of ↓_c_↓.

	The use in this work of the contrapuntal potential of the 
various parts of chords (especially chords that are more than simple
triads, such as the augmented sixth chords) drives home the point
that sound structures may come to depend mainly on usage, or total
context, for their functional definition.  This music cannot be
taken for granted or "understood" instantaneously as it falls upon
the ears.  It is only through reflecting upon the relationships of the
many goals, and the detailed means used to achieve them, that the
sounds are "understood" in a musical sense.  Most of us know this
intuitively, but in analyzing a work such as the %2Tristan Prelude%1
we are forced to become acutely aware of the process of musical
understanding.

.next page
.begin verbatim
Figure 111.  Wagner, Prelude to Tristan und Isolde.
.end
.next page
.next page
.nofill indent 0
Exercises for Chapter X.

	Analyze the following works.  Be sure that the audible
	patterns of harmonic progression on all levels  (the 
	sequences, that is) are clearly indicated.

	1.  Brahms, Capriccio in d, Op.116,#1.

	2.  Brahms, Capriccio in g, Op.116,#3.

	3.  Brahms, Intermezzo in E, Op.116,#6.

	4.  Brahms, Intermezzo in b%4F%1, Op.117,#2.

	5.  Brahms, Intermezzo in e%4F%1, Op.118,#6.

	6.  Wagner, Tannhauser, Act I, Scene 1.
			(Venusberg music)