/LMAR=0/XLINE=20/FONT#0=MBIG[HHA,LCS]/FONT#1=BMETI[HHA,LCS]/FONT#3=BMUS[HHA,LCS]/FONT#5=MBIG[HHA,LCS]
␈↓ β⊂␈↓␈↓ !129␈↓ ∀0


␈↓"β␈↓ β⊂␈↓␈↓ 
$CHAPTER X


␈↓"β␈↓ β⊂␈↓␈↓ ¬LTHE COMPLETE MUSICAL MOVEMENT:  WAGNER


␈↓"β␈↓ β⊂␈↓␈↓ ∧PIt␈α≡is␈α≥undoubtedly␈α≡Wagner's␈α≥intention␈α≡to␈α≥leave␈α≡many␈α≥things
␈↓ β⊂␈↓in␈α∨the␈α∨harmony␈α∨of␈α the␈α∨Prelude␈α∨to␈α∨␈↓↓Tristan␈α∨und␈α Isolde␈↓␈α∨ambiguous
␈↓ β⊂␈↓and␈α~unresolved.␈α~ In␈α~this␈α~case␈α→ambiguity␈α~is␈α~a␈α~positive␈α~value␈α→which
␈↓ β⊂␈↓is␈α~used␈α~in␈α~a␈α~specific␈α≠manner␈α~to␈α~convey␈α~the␈α~particular␈α≠attitudes␈α~of
␈↓ β⊂␈↓the␈α∨opera␈α∨--␈α≡attitudes␈α∨of␈α∨mystery␈α≡and␈α∨unfulfilled␈α∨desire.␈α≡ (These
␈↓ β⊂␈↓same␈α≠attitudes␈α≠permeate␈α≠much␈α≠19th-century␈α≠art.)␈α≠On␈α≠every␈α≠level
␈↓ β⊂␈↓things␈α*are␈α)relatively␈α*difficult␈α)to␈α*pin␈α)down.␈α* Which␈α*are␈α)chord
␈↓ β⊂␈↓notes␈α→and␈α~which␈α→are␈α→non-chord␈α~notes?␈α→ When␈α→is␈α~the␈α→ever-present
␈↓ β⊂␈↓chromaticism␈α∀functional␈α∀and␈α∃when␈α∀non-functional?␈α∀ What␈α∃tonic␈α∀is
␈↓ β⊂␈↓really being defined at any given time?  Etc., etc.

␈↓"β␈↓ β⊂␈↓␈↓ ∧PThe␈α first␈α∨three␈α unaccompanied␈α∨notes␈α give␈α∨us␈α no␈α∨immediate
␈↓ β⊂␈↓clue␈α≠to␈α≠any␈α≠function.␈α≠ In␈α≠the␈α≠second␈α≠measure␈α≠the␈α≠situation␈α≠is␈α~still
␈↓ β⊂␈↓doubtful.␈α% There,␈α$the␈α%famous␈α$"Tristan"␈α%chord␈α$appears.␈α% Our␈α$first
␈↓ β⊂␈↓hope␈α∃of␈α∃understanding␈α∃the␈α∃tonal␈α∃roles␈α∃of␈α∃the␈α∃sounds␈α∃thus␈α∃far␈α∀heard
␈↓ β⊂␈↓comes␈α<in␈α<measure␈α<3␈α<with␈α<the␈α<easily␈α<recognized,␈α<dominant
␈↓ β⊂␈↓functioning,␈α→E7␈α→chord.␈α→ As␈α→we␈α→scan␈α→the␈α→score␈α→ahead,␈α→we␈α→find␈α_very
␈↓ β⊂␈↓few␈α≤simple␈α≠triads␈α≤in␈α≠rhythmically␈α≤strong␈α≠positions␈α≤and␈α≠virtually
␈↓ β⊂␈↓no␈α?␈αλdirect␈α?␈αλdominant-tonic␈α?␈απrelationships.␈α?␈αλ Thus␈α?␈αλthe␈α?␈απvarious
␈↓ β⊂␈↓temporary␈α#tonics␈α#tend␈α#to␈α"be␈α#somewhat␈α#obscured.␈α# Although␈α"the
␈↓ β⊂␈↓overall␈α∃key␈α∃of␈α∃␈↓&a␈↓)∧∧-␈↓&A␈↓)∧∧␈α∃generally␈α∃seems␈α∃to␈α∃persist,␈α∃there␈α∃are␈α⊗rather␈α∃few
␈↓ β⊂␈↓A␈α≠chords␈α≠and␈α~the␈α≠Prelude␈α≠finally␈α≠establishes␈α~the␈α≠dominant␈α≠of␈α≠␈↓&c␈↓)∧∧␈α~at
␈↓ β⊂␈↓the␈α!end.␈α! (Of␈α!course,␈α!the␈α!Prelude␈α!is,␈α!in␈α!the␈α!largest␈α!sense,␈α!only␈α!a
␈↓ β⊂␈↓␈↓↓part␈↓␈α⊗of␈α∃a␈α⊗vast␈α∃and␈α⊗continuous␈α∃work.)␈α⊗So␈α∃with␈α⊗this␈α∃music,␈α⊗it␈α⊗is␈α∃best
␈↓ β⊂␈↓to␈α→assume␈α→very␈α~little␈α→beyond␈α→the␈α→fact␈α~that,␈α→in␈α→consideration␈α~of␈α→its
␈↓ β⊂␈↓historical␈α"position,␈α"it␈α"is␈α!ultimately␈α"based␈α"on␈α"the␈α"conventions␈α!of
␈↓ β⊂␈↓functional␈α?␈α↔tonality.␈α?␈α↔ (Thus␈α?␈α⊗all␈α?␈α↔the␈α?␈α↔"structural"␈α?␈α⊗vertical
␈↓ β⊂␈↓occurrences must be based on superimposed thirds, etc.)

␈↓"β␈↓ β⊂␈↓␈↓ ∧PTo␈α_approach␈α→this␈α_work␈α→leading␈α_from␈α_the␈α→largest␈α_to␈α→the␈α_small
␈↓ β⊂␈↓␈↓ !130␈↓ ∀0


␈↓"β␈↓ β⊂␈↓units␈α≤may␈α≠give␈α≤a␈α≤little␈α≠more␈α≤difficulty␈α≤than␈α≠was␈α≤found␈α≤with␈α≠the
␈↓ β⊂␈↓Mozart␈α→Sonata,␈α→since␈α→there␈α→seems␈α→here␈α→to␈α→be␈α→such␈α→a␈α~great␈α→emphasis
␈↓ β⊂␈↓on␈α↔detail.␈α↔ And,␈α⊗to␈α↔be␈α↔sure,␈α↔many␈α⊗of␈α↔the␈α↔large␈α⊗units␈α↔may␈α↔be␈α↔hard␈α⊗to
␈↓ β⊂␈↓relate␈α~to␈α≠without␈α~first␈α≠grasping␈α~the␈α~details␈α≠which␈α~form␈α≠them.␈α~ In
␈↓ β⊂␈↓fact,␈α↔the␈α↔same␈α⊗problem␈α↔was␈α↔faced␈α⊗in␈α↔Mozart's␈α↔development␈α⊗section,
␈↓ β⊂␈↓where␈α?␈α↓the␈α?harmonic␈α?␈α↓details␈α?became␈α?␈α↓so␈α?involved␈α?␈α↓that␈α?the
␈↓ β⊂␈↓particular␈α?␈α∧tonality␈α?␈α∧of␈α?␈α¬the␈α?␈α∧background␈α?␈α∧tended␈α?␈α∧to␈α?␈α¬lose␈α?␈α∧its
␈↓ β⊂␈↓importance.␈α↔ However,␈α↔from␈α↔the␈α_widest␈α↔view,␈α↔a␈α↔few␈α↔things␈α_in␈α↔the
␈↓ β⊂␈↓Prelude␈α↔can␈α_easily␈α↔be␈α_noted:␈α↔the␈α_A-B-A,␈α↔or␈α_arch␈α↔form␈α_--␈α↔especially
␈↓ β⊂␈↓the␈α+return␈α+to␈α*the␈α+opening␈α+material␈α*during␈α+and␈α+following␈α*the
␈↓ β⊂␈↓climax␈α↔at␈α↔bars␈α↔82-84,␈α↔etc.,␈α↔and␈α⊗the␈α↔dominant␈α↔pedal␈α↔notes,␈α↔E␈α↔at␈α⊗bars
␈↓ β⊂␈↓63-70 and G at 100-111.
␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 95
␈↓"β␈↓ β⊂␈↓␈↓ ¬"␈↓¬⊂⊗⊃L[%0.10,%-1.88](17,22):N95F.PLT[C10,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ β⊂␈↓␈↓ ∧PReferring␈α$back␈α#to␈α$details,␈α#we␈α$have␈α#noticed␈α$the␈α$first␈α#clear
␈↓ β⊂␈↓function␈α~in␈α→the␈α~piece␈α→(in␈α~measure␈α→3)␈α~to␈α→be␈α~the␈α→dominant␈α~of␈α~␈↓&a␈↓)∧∧;␈α→and
␈↓ β⊂␈↓then␈α↔looking␈α↔(and␈α↔of␈α↔course,␈α↔always␈α↔listening)␈α↔a␈α↔little␈α↔beyond,␈α↔we
␈↓ β⊂␈↓see␈α→the␈α→dominant␈α→of␈α→␈↓&C␈↓)∧∧␈α→in␈α→measure␈α→7.␈α→ At␈α→this␈α→point␈α→it␈α→should␈α_begin
␈↓ β⊂␈↓to␈α_be␈α↔clear␈α_that,␈α↔in␈α_this␈α↔piece,␈α_the␈α↔various␈α_tonics␈α↔of␈α_the␈α_upper␈α↔two
␈↓ β⊂␈↓levels␈α_of␈α↔our␈α_analysis␈α_probably␈α↔will␈α_be␈α↔defined␈α_almost␈α_entirely␈α↔by
␈↓ β⊂␈↓functions other than tonic on the lowest level.

␈↓"β␈↓ β⊂␈↓␈↓ ∧PFor␈α~the␈α~definition␈α~of␈α≠the␈α~middle␈α~ground␈α~tonics,␈α~it␈α≠is␈α~always
␈↓ β⊂␈↓well␈α_to␈α→look␈α_for␈α→clues␈α_in␈α→the␈α_phrase␈α→structure,␈α_as␈α→it␈α_is␈α→outlined␈α_by
␈↓ β⊂␈↓rhythmic␈α,and␈α,melodic␈α,occurrences␈α,and␈α,their␈α,orchestration,␈α,in
␈↓ β⊂␈↓addition␈α~to␈α≠considering␈α~the␈α≠harmonic␈α~end␈α≠points.␈α~ The␈α≠"A"␈α~section
␈↓ β⊂␈↓of␈α↔the␈α↔form,␈α↔the␈α↔first␈α↔17␈α_bars,␈α↔is␈α↔a␈α↔sort␈α↔of␈α↔introduction␈α↔made␈α_up␈α↔of
␈↓ β⊂␈↓a␈α5freely␈α5sequential␈α4series␈α5of␈α5utterances␈α4leading␈α5to␈α5a␈α4strong
␈↓ β⊂␈↓deceptive␈α%cadence␈α%in␈α%␈↓&a␈↓)∧∧.␈α% These␈α$first␈α%short␈α%phrases␈α%will␈α%be␈α$dealt
␈↓ β⊂␈↓with␈α→later.␈α→ The␈α→first␈α→division␈α→in␈α→the␈α→"B"␈α→section␈α→is␈α→marked␈α→by␈α→the
␈↓ β⊂␈↓melodic␈α+chromatic␈α+scale,␈α+rhythmic␈α+agitation,␈α+and␈α,an␈α+authentic
␈↓ β⊂␈↓␈↓ !131␈↓ ∀0


␈↓"β␈↓ β⊂␈↓feminine␈α_cadence␈α_on␈α_␈↓&A␈↓)∧∧␈α_at␈α↔measure␈α_24.␈α_ At␈α_measure␈α_36␈α_the␈α↔division
␈↓ β⊂␈↓is␈α⊗defined␈α⊗by␈α⊗the␈α⊗cadence␈α⊗on␈α∃␈↓&d␈↓)∧∧␈α⊗and␈α⊗the␈α⊗following␈α⊗abrupt␈α⊗change␈α∃of
␈↓ β⊂␈↓orchestration,␈α→etc.␈α~ Again␈α→a␈α→phrase␈α~ends␈α→with␈α→a␈α~deceptive␈α→cadence,
␈↓ β⊂␈↓this␈α%time␈α%in␈α&␈↓&c␈↓βS␈↓␈↓)∧∧␈α%at␈α%bar␈α%44.␈α& The␈α%next,␈α%somewhat␈α&longer,␈α%section
␈↓ β⊂␈↓elides with the E pedal at bar 63.  Thus far we have:
␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 96a
␈↓"β␈↓ β⊂␈↓␈↓ ¬
␈↓¬⊂⊗⊃L[%0.10,%-2.04](17,22):N96FA.PLT[C10,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ β⊂␈↓␈↓ ∧PStarting␈α%at␈α%63␈α%we␈α%have␈α%new␈α%material␈α%which␈α%is␈α$combined
␈↓ β⊂␈↓with␈α~a␈α→varied␈α~form␈α~of␈α→the␈α~introduction␈α→material,␈α~leading␈α~again␈α→to
␈↓ β⊂␈↓an␈α∃␈↓&a␈↓)∧∧␈α∃deceptive␈α∃cadence␈α∃at␈α∃bar␈α∃74.␈α∃ The␈α∃phrases␈α∃are␈α∃elided␈α∃once␈α∃more
␈↓ β⊂␈↓and␈α→the␈α→new␈α_one␈α→extends␈α→to␈α→the␈α_brief␈α→recurrence␈α→of␈α→the␈α_dominant
␈↓ β⊂␈↓pedal␈α≤at␈α≠84.␈α≤ The␈α≠next␈α≤phrase␈α≠really␈α≤begins␈α≠back␈α≤at␈α≠bar␈α≤80,␈α≤but␈α≠it
␈↓ β⊂␈↓does␈α≥not␈α≤emerge␈α≥as␈α≥independent␈α≤until␈α≥bar␈α≤84,␈α≥where␈α≥the␈α≤original
␈↓ β⊂␈↓character␈α!of␈α!the␈α!"A"␈α!section␈α!(or␈α!introduction)␈α!is␈α"apparent.␈α! This
␈↓ β⊂␈↓material␈α_is␈α↔at␈α_first␈α_somewhat␈α↔compressed␈α_and␈α↔leads␈α_to␈α_the␈α↔familiar
␈↓ β⊂␈↓␈↓&a␈↓)∧∧␈α≤deceptive␈α≤cadence␈α≤at␈α≤measure␈α≤94.␈α≤ The␈α≤next␈α≤short␈α≤phrase,␈α≤using
␈↓ β⊂␈↓material␈α∨from␈α∨the␈α "B"␈α∨section,␈α∨arrives␈α∨on␈α the␈α∨dominant␈α∨G␈α of␈α∨the
␈↓ β⊂␈↓timpani␈α~in␈α~bar␈α→100.␈α~ The␈α~rest␈α→of␈α~the␈α~music␈α→is␈α~an␈α~extension␈α~of␈α→that
␈↓ β⊂␈↓arrival.␈α≠ More␈α≠detail,␈α≠or␈α≠less,␈α≠might␈α≠have␈α≠been␈α≠considered␈α≠for␈α≠this
␈↓ β⊂␈↓step␈α∃of␈α∃the␈α∀analysis,␈α∃but␈α∃the␈α∀overall␈α∃result␈α∃would␈α∀be␈α∃just␈α∃about␈α∀the
␈↓ β⊂␈↓same.  For the whole Prelude we have at this point:
␈↓"β
␈↓"β␈↓ β⊂␈↓Figure 96b
␈↓"β␈↓ β⊂␈↓␈↓ ¬␈↓¬⊂⊗⊃L[%0.10,%-2.40](17,22):N96FB.PLT[C10,LCS]⊂⊗⊃␈↓