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00100	.PAGE←128
00200	.NEXT PAGE
00300	.SKIP 2
00400	.CENTER		
00500	CHAPTER X
00600	.SKIP 2
00700	.CENTER			
00800	THE COMPLETE MUSICAL MOVEMENT:  WAGNER
00900	.SKIP 1
01000	.INDENT 12
01100	.FILL
01200	.ADJUST
01300	.SELECT 1
01400		It is undoubtedly Wagner's intention to leave many things in
01500	the harmony of the Prelude to %2Tristan und Isolde%1 ambiguous and
01600	unresolved.  In this case ambiguity is a positive value which is
01700	used in a specific manner to convey the particular attitudes of the
01800	opera -- attitudes of mystery and unfulfilled desire.  (These same
01900	attitudes permeate much 19th-century art.)  On every level things
02000	are relatively difficult to pin down.  Which are chord notes and 
02100	which are non-chord notes?  When is the ever-present chromaticism
02200	functional and when non-functional?  What tonic is really being
02300	defined at any given time?  Etc., etc.  
02400	
02500		The first three unaccompanied notes give us no immediate clue
02600	to any function.  In the second measure the situation is still
02700	doubtful.  There, the famous "Tristan" chord appears.  Our first hope
02800	of understanding the tonal roles of the sounds thus far heard comes
02900	in measure 3 with the easily recognized, dominant functioning, E7 chord.
03000	As we scan the score ahead, we find very few simple triads in
03100	rhythmically strong positions and virtually no direct dominant-tonic
03200	relationships.  Thus the various temporary tonics tend to be somewhat
03300	obscured.  Although the overall key of ↓_a_↓-↓_A_↓ generally seems to persist,
03400	there are rather few A chords and the Prelude finally establishes the 
03500	dominant of ↓_c_↓ at the end.  (Of course, the Prelude is, in the largest
03600	sense, only a %2part%1 of a vast and continuous work.)  So with this music,
03700	it is best to assume very little beyond the fact that, in consideration
03800	of its historical position, it is ultimately based on the conventions
03900	of functional tonality.  (Thus all the "structural" vertical
04000	occurrences must be based on superimposed thirds, etc.)
04100	
04200		To approach this work leading from the largest to the small
04300	units may give a little more difficulty than was found with the
04400	Mozart Sonata, since there seems here to be such a great emphasis
04500	on detail.  And, to be sure, many of the large units may be hard
04600	to relate to without first grasping the details which form them.
04700	In fact, the same problem was faced in Mozart's development section,
04800	where the harmonic details became so involved that the particular
04900	tonality of the background tended to lose its importance.  However,
05000	from the widest view, a few things in the Prelude can easily be
05100	noted:  the A-B-A, or arch form -- especially the return to the
05200	opening material during and following the climax at bars 82-84, etc.,
05300	and the dominant pedal notes, E at bars 63-70 and G at 100-111.
05400	
05500	.BEGIN VERBATIM
05600	
05700	Figure 95
05800	.END
05900	.CENTER
06000	%6⊂⊗⊃L[α%0.10,α%-1.88](17,22):N95F.PLT[C10,LCS]⊂⊗⊃%1
06100	.SKIP 4
06200	.fill indeNT 12
06300	
06400	
06500		Referring back to details, we have noticed the first clear
06600	function in the piece (in measure 3) to be the dominant of ↓_a_↓; and
06700	then looking (and of course, always listening) a little beyond, we
06800	see the dominant of ↓_C_↓ in measure 7.  At this point it should begin
06900	to be clear that, in this piece, the various tonics of the upper
07000	two levels of our analysis probably will be defined almost entirely
07100	by functions other than tonic on the lowest level.
07200	
07300		For the definition of the middle ground tonics, it is always
07400	well to look for clues in the phrase structure, as it is outlined
07500	by rhythmic and melodic occurrences and their orchestration, in
07600	addition to considering the harmonic end points.  The "A" section
07700	of the form, the first 17 bars, is a sort of introduction made up
07800	of a freely sequential series of utterances leading to a strong
07900	deceptive cadence in ↓_a_↓.  These first short phrases will be dealt
08000	with later.  The first division in the "B" section is marked by 
08100	the melodic chromatic scale, rhythmic agitation, and an authentic
08200	feminine cadence on ↓_A_↓ at measure 24.  At measure 36 the division
08300	is defined by the cadence on ↓_d_↓ and the following abrupt change of
08400	orchestration, etc.  Again a phrase ends with a deceptive cadence,
08500	this time in ↓_c%4S%1_↓ at bar 44.  The next, somewhat longer, section
08600	elides with the E pedal at bar 63.  Thus far we have:
08700	
08800	.BEGIN VERBATIM
08900	
09000	Figure 96a
09100	.END
09200	.CENTER
09300	%6⊂⊗⊃L[α%0.10,α%-2.04](17,22):N96FA.PLT[C10,LCS]⊂⊗⊃%1
09400	.SKIP 4
09500	.fill indeNT 12
09600	
09700		Starting at 63 we have new material which is combined with
09800	a varied form of the introduction material, leading again to an ↓_a_↓
09900	deceptive cadence at bar 74.  The phrases are elided once more
10000	and the new one extends to the brief recurrence of the dominant
10100	pedal at 84.  The next phrase really begins back at bar 80, but it
10200	does not emerge as independent until bar 84, where the original
10300	character of the "A" section (or introduction) is apparent.  This
10400	material is at first somewhat compressed and leads to the familiar
10500	↓_a_↓ deceptive cadence at measure 94.  The next short phrase, using
10600	material from the "B" section, arrives on the dominant G of the
10700	timpani in bar 100.  The rest of the music is an extension of that
10800	arrival.  More detail, or less, might have been considered for
10900	this step of the analysis, but the overall result would be just
11000	about the same.  For the whole Prelude we have at this point:
11100	
11200	.BEGIN VERBATIM
11300	
11400	Figure 96b
11500	.END
11600	.CENTER
11700	%6⊂⊗⊃L[α%0.10,α%-2.40](17,22):N96FB.PLT[C10,LCS]⊂⊗⊃%1
11800	. <<SIZE .9 >>