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.fill indent 6
	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
140 and 133-134.$  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.

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Figure 109
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%6⊂⊗⊃L[α%0.00,α%-1.43]:109F.PLT[c10,LCS]⊂⊗⊃%1