You are on page 1of 3

1.

In measure 2 we have F, B, D#, and G# and this chord can be respelled with an E# in place of the F giving us half diminished seven chord. As soon as Wagner changes the G# to an A we have an E# Fr+6. In measure 3 our first chord is an E Fr+6 chord that quickly mutates into an E7 chord. With the moving soprano line, I did not consider all of the notes chord tones despite clear interpretations of every chord. I would not consider the G# in measure 2 or the A# in measure 3 as chord tones, because considering them chord tones makes analysis of this phrase much clearer. This phrase is in A minor in my opinion and roman numeral analysis is possible. (see attached) 2. These two passages are chromatic sequences of measures 2 and 3. Measures 6 and 7 are an exact copy of measure 2 and 3 just a third up. Measures 10-11 are very close to except measure ten does not contain a Fr+6 chord like the previous to examples, but measure 11 does have the Fr+6 mutating into a dominant 7 chord. 3. At measure 16 we begin to come out of the chromatic sequences in the beginning and Wagner keeps the E#(F) and F# and begins to add chords beneath it. It appears as though Wagner is beginning to tonicize A minor by mixing the minor modes (the F and the F#) because he then extends the melody to include G and G#. At measure 16, the V7 chord in A appears but Wagner deceptively resolves it to the VI. This seems to be a turning point in the prelude because everything built up to this point as shown in the dynamic markings. This is the first point in which we see lasting forte markings. In measures 18-22, we see a few tonicization occurring the first of which is in measures 18 and 19 (see attached). The next occurs over measure 20-22 (see attached). In measures 18-19 G and C major are tonicized and in measures 20-22 D minor is clearly tonicized. 4. The poco rall. and riten at mm. 23-24 is placed here because Wagner is using different

textures and rhythm to approach the V-I of measure 24 and this marks the end of a phrase and a cadence point. The tempo at 25 begins a new phrase. Preceding measure 24, Wagner tonicizes the V chord in a minor using B7 and the vii-diminished triad and in measure 25 he finally resolves to A major with a big V-I. 5. In both measures 44 and 17, Wagner resolves an augmented 4th above the root down to the major third. Mm. 25-32 and mm. 45-52 and almost an exact melodic sequence. Mm. 45-52 has the melody an octave higher and ends up in a minor whereas mm. 25-32 in up in D minor. 6. This section can be described as having very little going on in the bass section from what we had previously. The melody really opens up and is no longer moving slowly with leaps as much. Wagner gives the melody in this section much more of an arch. Without an analysis of each chord in this section, one can see that theres not as much chromaticism used and that the harmony is very basic. Immediately, one should recognize the presence of the E in the bass throughout and with our A major key signature, recognizing some of these harmonies without deep analysis is simple. The overall key in this section is A major despite Wagners lack of resolution to an A major chord. It is heavily implied though because of all the E7 and D major chords. 7. Mm. 74-76 are an embellishment of the The Look motif appearing in measures 17-18. A new key, c minor, is presented but really is never established throughout the passage. There is one Sol-Do and that is in measures 75-76. At the end of 75, a D7 in 2nd inversion resolves to a G7 chord in 76. 8. The sonorities in measure 83 are enharmonically equivalent to the chord found at the beginning of the prelude. Measure 84 spells it exactly the same but we find it voiced

slightly different. This chord could be enharmonically respelled as an F fully diminished 7 chord or an E# fully diminished seven. 9. The end of the prelude relates to the beginning in a few different ways. The first is the texture. The end is not as dense as some of the other sections of the prelude and the beginning is not very dense at all. The end of the prelude takes the melody of the first line of the beginning and restates it again but Wagner embellishes it further at the end. Also, the The Look motif is applied again in the end as it was in the beginning. The end of the prelude is a bit vague as far as the key in which it ends. One could say G, the last chord played is a G7 chord but the octaves Wagner noodles with for the raising of the curtain suggest a G minor mode. I do not think the Prelude ends in a definite key but rather suggests G minor.