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.fill INDENT 12
	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
.CENTER
%6⊂⊗⊃L[α%0.00,α%-3.40](17,22):110F.PLT[c10,LCS]⊂⊗⊃%1
.SKIP 7    

.fill INDENT 12
	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.

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.END
.fill indent 0
(The complete analysis of Wagner's %2Prelude%1 to %2Tristan und Isolde%1 
follows on the next two pages.)