The Tristan Chord Revealed

[@target9972]

Sir, what a profound, entertainingly presented analysis of all the different implications that made the opera so important in music history. Thank you from the bottom of my heart. As a 76-year-old German, I have kept my whole life at a distance from Wagner and his music because it was abused by the Nazis for their demagogy. It is ironic that an British professor, open up a German's understanding of Wagner. Thank you!

[@themusicprofessor]

Thank you so much for your wonderful and moving comment. Germans should be proud of their wonderful artistic heritage, so disgracefully and monstrously abused by ideological thugs in the mid-20th century.

[@ftumschk]

Despite being a Wagner/Tristan nut for around 40 years, there's always something new to learn. This video certainly lived up to that tradition. Fascinating!

[@themusicprofessor]

Thank you!

[@PianoDanny]

As a fellow music educator, I’d like to say I’m loving your enthusiasm and ability to share your love of the music without getting bogged down in the complexity!

[@thormusique]

Excellent video, thanks! And yes, I for one would love to see a series on Tristan. Cheers!

[@patriciajarrard2738]

That opening was what turned me into a Wagner fan. When the opening of Tristian and Isolde is played, I find myself closing my eyes and mentally floating with the music.

[@amarilisvazquez180]

Thank you sir! looking forward to the completion of a great series of master classes on Wagner/ Tristan und Isolde. ❤

[@saschabakker6943]

More Tristan content please!! Such a fascinating opera for so many reasons. Thank you for your excellent videos and dedication to accessible music education!

[@darrenjurme7231]

Yes please to a mini-series on Tristan & Isolde! 🙏🏼 🥂

[@thomasdeansfineart149]

Thank you so much for this professor! My first encounter with this music was a live concert featuring a performance of the Prelude/Liebstod (sung by Birgit Nilsson) when I was 14. It was life-changing, and nothing was ever the same again. My composition professor at university ranked Wagner right after God, but he never taught the cultural history of the work. Please carry on with more! Some 14-year-old is waiting to discover your talks! 🙏🙏

[@_Helm_]

Said this before but once more: thank you for being a great educator and for conveying this enthusiasm and knowledge about classical music to those of us that know less about it but still love it

[@themusicprofessor]

Thank you!

[@mstalcup]

Thanks for the information regarding how Wagner was taught composition. I love the analysis of the Tristan chord as a French sixth chord with an appoggiatura leading to the dominant. The fascinating link between Wagner, Debussy, Shönberg, and Stravinsky is certainly evident in your presentation.

[@Anyonecandoit26]

Immensely enjoyable and informative! I studied under William Mathias in the 70's. And your presentations take me right back to the lectures I was fortunate to hear then. Thanks very much.

[@richardscoates6835]

Thank you. I look forward to your next talk .

[@Blimey2342]

Very insightful video. I'm hoping for the follow-up video, or videos!

[@josepmcomajoncoses5118]

Superb talk. I wish I could put more "likes" :) the whole opera never ceases to fascinate! Please sure, do more videos about it, not just the beginning!!!

[@beluch2768]

So happy to have discovered you. What wonderful lectures. I'm off to Patreon. Cheers!

[@JamesEis]

Brilliant! Explained with clarity and simplicity. Thank you so much.

[@worldnotworld]

They say "talking about music is like singing about football." That is incorrect, and this is fantastic!

[@lawrencetaylor4101]

Beg your pardon, but are you talking football, or soccer, or footie? Context is everything.

[@worldnotworld]

@@lawrencetaylor4101 True, the absurdities are quite distinct -- but remain absurdities! Perhaps there are some good songs about any of these three concepts?

[@mondellomusic2]

Great idea! Immediately begins work on football opera. 'Touchdown tra-la tra-la, touchdown!' Ooops not meaning to give away the ending

[@stapler942]

I always heard it as "dancing about architecture" and I kind of want to see a ballet about an architect because of that phrase.

[@worldnotworld]

@@stapler942 Yes, that's a nice variant. There's gotta be some Bauhaus ballet out there somewhere...

[@annakimborahpa]

Yes, you broke the Wagner code. 1. With the appoggiatura G# of the Tristan Chord resolving upward to A, then it's harmonic function can be understood as a form of the Subdominant in the key of A Minor, labeled either as F7 b5 or a B7 b5/F. 2. In jazz theory, the first two measures would be referred to as an incomplete ii - V progression in the key of A minor since the Tonic i chord is not arrived at. Unresolved ii - V progressions abound in jazz harmony that accompany simple melodies. 3.Therefore, in the key of A Minor, Tristan's opening measure 1 = Subdominant function and measure 2 = Dominant function. The Tristan chord can also be considered as V of V in the key of A Minor using Figured Bass analysis.

[@PedroCristian]

Another example of composer citing Tristan und Isolde, is Bernard Herrmann, in his "scene d'amour" of the Vertigo sound track.

[@pphedup]

How interesting!

[@dan27music]

I recall a Hitchcock soundtrack that reminded me a lot of Stravinsky. I think that may have been Bernard Herrmann too.

[@SebastianChiat-rm9dk]

Thank you for making such informative, detailed videos

[@simonragnarson22]

I would love more Wagner, maybe do a rundown of the transformation music from Parsifal , which is obviously so touched by Tristan. And even imo a successful attempt at imbedding the syntax developed in Tristan into a tonal context ( functionally speaking) every human alive should have heard it at least once. This was delightful!

[@wol4fram]

Seconding the motion for a follow-up video ;) Thank you so much for this one!

Wow! I loved how you showed how the Tristan chord came from French and Italian augmented 6th chords!

[@keplergso8369]

I think it is indeed a good explanation. Like in jazz, we find mystery chords which can be finally explained by delayed notes, next resolved or not resolved in full chords.

[@alanbutterworth4219]

What a thoroughly top explanation of the chord. I've not listened to much Wagner through my life. Maybe I should.

[@themusicprofessor]

You should!

[@magiccarpetmusic2449]

You absolutely should dive into Wagner. Try his only "comic" (and much more) opera, Die Meistersinger, following with a good translation of the libretto. It's a spectacular, very funny and very touching masterpiece.

[@melissaraven3164]

Excellent video, really interesting analysis/ explanation of the chord plus its roots/sources in the past and its influence in later music. Yes please! to more analysis of Tristan and Isolde (and Wagner).

[@paulwl3159]

Great overview with some fascinating facts and thoughts about the historic musical context. Just like the chord itself, its mysteries still remain unresolved.

[@keplergso8369]

I think he found a good explanation. Like in jazz, we find mystery chords which can be finally explained by delayed notes, next resolved or not resolved in full chords.

[@jerryballard371]

Outstanding video! Your brief discussion of the nature of genius reminds me of the James Burke series “Connections”, where he recognizes that disruption doesn’t come out of nowhere, but is inevitably the result of some minor but profound changed to something that already exists.

[@thebones]

I imagine that I've seen all your videos - and enjoyed them.

[@RonHeusdens]

Very interesting and informative. I learned a lot! Thank you

[@eliseleonard3477]

Yes yes! A gossipy video about Wagner please! This was great. 🙏

[@michaelschmidt5766]

Great Music - Great Video. Thank you very much !!!

[@dabeamer42]

I got my music degrees many decades ago. I was never an opera fan, and we kinda skipped over Wagner in theory class...so thanks for filling in some holes in my schooling. I've always liked what Verdi said of Wagner, that there were some marvelous moments, and some tedious quarters-of-an-hour. I think it still holds...but at least I understand it a bit better.

[@themusicprofessor]

I think that quote is reputed to be Rossini.

[@ShaneyElderberry]

It’s definitely about developing a taste for it. If you listen to the operas enough, even the less interesting areas between bring a smile to your face. For large portions of drama, I would say all of Parsifal’s second act and all of Siegfried’s first act are entertaining.

[@brucebennett5338]

absolutely, explainable. you got it at 21:11. There's an earlier example of the same pitches, but spelled with flats in Beethoven's Piano Sonata in A-flat.

[@smothimon]

Yes, i need this Tristan series in my life

[@nicholasfogg7964]

Many thanks! Your interpretation of the Tristan Chord is absolutely spot on: an ascending soprano appoggiatura on to a French augmented sixth in A minor!

[@GregHarradineComposer]

Fascinating and enlightening - thank you Matthew!

[@joedlafferty]

Praise the Lord for the algorithm! While I mostly resent it, it has pointed me to your very insightful and extremely interesting presentation. Now a subscriber & look forward to following and watching more.

[@themusicprofessor]

Thank you! Welcome to the channel.

[@wardropper]

On the other hand, we really have to account for the fact that a composer who doesn’t even have Wagner’s genius will often sit at the piano and doodle around with ideas that come into his head. Then comes the moment when he unexpectedly hits upon a chord that makes him pause: “Now that chord has possibilities!” - in other words, Inspiration! Of course Wagner had a wonderful sense of form and logical musical development, but that doesn’t mean he never doodled, or that absolutely everything he did had to make perfect sense to us. It was enough that it made sense to him, since he was a creator, after all - not a coroner with expertise in forensics...

[@ShaneyElderberry]

Agreed. His method was quite similar to Liszt’s: writing music at the keyboard/piano. The experiments must have been bizarre to onlookers. Imagine how the descent into Nibelheim in Das Rheingold must have sounded. Keys banging the rhythm of anvils, with significant modifications to the theme.

[@MishaTheElder]

An absolutely illuminating and fascinating video. Thank you

[@johannsebastianb4ss]

Amazing video Professor! I always thought that Wagner was only a mad antisemitic, but now I see that he was a much more interesting historical figure than just that. This video explains lots of thinks about him and his music. I hope you reconsider to do a Tristan und Isolde series even with just a few views, I would be interested on watching that on full. Cheers!

[@brianbuch1]

Thank you. I quite liked your historical survey leading through the aug 6th to Wagner's creation.

[@kmtrammel]

Fascinating. Thank you so much for this edifying discussion.

[@Jasper_the_Cat]

Wow- newer to classical music here- I've never really listened to Wagner because the length of the operas seems a bit daunting. But listening to your playing here- he sounds so modern. Big fan of Mahler and can hear the fingerprints, too. Cool. Thanks for sharing!

[@thebigstink7472]

Mahler was a huge admirer of Wagner, and a great conductor of his operas. They are very similar (minus the opera part lol)

[@digitig]

Possibly sounds so modern because it's a *very* short step from Wagner to almost all orchestral film scores, from Erich Korngold to John Williams

[@michaelmedlinger6399]

@@digitigAnd Mahler is the link! Someone once remarked that people who are new to Mahler will say that he „sounds like film music.“ In truth, film music sounds like Mahler because all the top film score composers have always admired Mahler and used many of his techniques.

[@thebigstink7472]

@@michaelmedlinger6399 I believe that comparison is ascribed more or less to the entire late romantic period, but generally speaking while Mahler produced some remarkable works and innovations, the fundamental relations of drama and music that set the stage for film music happened largely with Wagner, and later to some extent in the Russian and French schools (Stravinsky, Ravel, etc) in the early 20th century.

[@ericastier1646]

Your lecture is perfect at my level of university music studies education background. You're picking up exactly where my music education stopped (i had to drop out after junior year for stupid visa reasons). I know the augmented sixth Italian, German, French and all the theory. We did some composition and i composed a miniature sonata but never got to composition class or counter point class. I liked that you played the reduction at the end, it was really necessary after focusing on the first bars. I could hear in the later bars harmonic possibilities of false Chopin "states" but that do not indulge toward Chopin and continues its more chromatic and dissonant route, also Scriabin. I hear several harmonic hinges beautiful ambiguities in the music that could lead to many resolutions that my trained ear (let's not be too modest) can faintly hear there emotional impact of the possible resolutions but Wagner never chooses to resolve and linger, not to make a decision. It's very chromatic.

[@jamesboyd4912]

You've done the important thing - made me want to sit down and listen to the whole work. Thank you!

[@vittoriahawksworth8117]

Just seen this - massively interesting, thank you! 🤩

[@matthewforsee5092]

Thank you so much for this video! I loved everything about it! Such a beautiful important piece and you really have a grasp of it under your fingers as well as a grasp of where it lies in music history. I agree that the Debussy and Stravinsky pieces are clearly inspired by the opening. Please do more and go for as long and as in depth as you’d like!

[@MattDavies-yj7cn]

That was really fun, thanks.

[@dan27music]

Brilliant. Had me absorbed right from the start. And has helped me more fully understand how Debussy arrived at his opening to 'Prelude de L'Apres Midi...' and then Stravinsky's opening to the Rite of Spring.

[@paulklemperer5365]

Very good explanation of the structure and application of the Tristan chord.

[@themusicprofessor]

Thank you

[@richardshagam8608]

Bravo! Someday I should try to see the whole opera live. Tell us more--especially the gossipy stuff.

[@ryrify]

Wonderful dive into a fascinating musical phenomena! Would love a series on Tristan! Also, I too, have a lovely, sometimes naughty, Loki 😊

[@ellentewkesbury5936]

What glorious riches! Thank you so much for sharing your extraordinary knowledge.

[@themusicprofessor]

Thank you!

[@tomhenninger4153]

Agree with your definition of genius. What a lovely resolution to the French 6th. Thanks! Great information! Loke'! Dogs love rolling in disgusting stinky... stuff. And mine always look so proud about it! hahaha! 🙂

[@N-JKoordt]

Great show Loke - it's clear who is the driving force behind all this.

[@MattBaker789]

Best analysis I’ve seen on this!

[@ThomasGanterPrien]

I am more of a Parsifal person, probably because I have never seen a truly good enactment of Tristan und Isolde (already dreading when I get to see this year's Bayreuth production eventually), but your explanation leads me to re-listen to it again. More Wagner content. Please. 😊

[@themusicprofessor]

I love Parsifal too.

[@ThomasGanterPrien]

@@themusicprofessor then have a look at the current enactment in Bayreuth. We went this year, and it was beautifully interpreted both musically and visually

[@oliverpeters7485]

Thank you for this new excellent video. I really love what you are doing. Going back to Wagner and his music, I wonder whether when he composed his music he was actually conscientious about all the theory you so well explained in your video. Sure Wagner’s music is all about emotion but on the other hand it is so well crafted, especially when I’m thinking about the leitmotiv he makes use of. As to the length of his operas: once you have dived into them, you won’t notice the clock. Please do more videos about his music!!!

[@themusicprofessor]

A quick answer to the theory question: no, because the partimento tradition in which he was trained (like Beethoven & Mozart and most composers before 1900) ensured that he had an absolutely solid grasp of harmony as a practical tool. He didn't need to think about chords in a theoretical way most of the time, although I'd imagine he would have been able to give a theoretical explanation of what he was doing.

[@Pooter-it4yg]

It's interesting to look at this from the perspective of jazz harmony. In that analysis we have F7#9#11 E7 (with passing tones/suspensions). In other words an "altered" predominant, or a bVI V movement which is a common substitution for a ii V movement, especially in minor. A lot of jazz musicians frequently use French, Itailan and Gernan sixth chords without actually knowing - they just conceive them differently. These substitutions come from the realisation that the defining character of dominants is the tritone, so in this instance F7 can stand in for B7 (which can stand in for Bm7). In addition dominants can be freely altered.

[@joseaugustolemos8353]

Great lesson! Thank you!! I look forward to seeing you do one on Scriabin’s Mystic Chord.

[@miguelsuarez8010]

That chord on the third bar always haunted me.

[@jirehmi9183]

This is a great compositional and guitar lesson for me!

[@averagepainter]

The ouverture always brings tears to my eyes. So very bittersweet.

[@johnfrobin]

Fascinating. Thank you.

[@jeffhello]

Please do more Wagner videos, Tristan, Ring cycle, Parsifal would be great! Very insightful, great analysis

[@lettersquash]

I'm just amazed by your knowledge, Matthew. I watch with probably slightly more musical comprehension than Loki, but I don't want to miss a word. When you first mention the Tristan chord, it plays in isolation, and around twelve minutes in the first orchestral bars are played. Both times, I'm afraid my brain went to the theme tune to Coronation Street. I don't know if it's just the particular quality of the sound, the horns with subtle vibrato, or some harmonic relationship. We've found the level, as they say. :) I'm not at all into opera or music of the romantic period, but maybe I'll meander there eventually from my baroque obsession. The discussion of going from dissonance into dissonance, and the final resolution of this piece made me think this is what makes great music, finding that balance between yearning and arriving, stretching the journey into different harmonic lands. I love the exquisite surprises Bach springs on the ear. You think we're going this way, but nope...this other voice has different ideas! And eventually, after all the twists and turns, it's so satisfying to arrive.

[@themusicprofessor]

I don't think the words 'Tristan' and 'Coronation Street' have ever appeared in a sentence together before!

[@acevaptsarov8410]

This is an incredible video! Wow!

[@karensmith5580]

Pure magic. Thank you!

[@jonb4020]

Thank you for this excellent exposition and commentary. I adore Mozart and Schubert and greatly respect Haydn and Beethoven, but irrespective of that, Wagner for me is second only to Bach himself in genius. His ability to create emotion by key, modulation and suspension is phenomenal and in my view has never been equalled.

[@eupraxis1]

Yes, more on Tristan, please!

[@TomKilworth]

More! This was brilliant (and reminded me of Steve Goss' excellent lectures on this sort of thing)

[@themusicprofessor]

Maybe I should chat to Steve on the channel at some point...

[@TomKilworth]

@@themusicprofessor That would be well worth a watch !

[@topquark22]

Excellent explanation!

[@jacksonelmore6227]

Do more on Tristan, listened to the whole video on my way to work 💪🏼

[@callmejeffbob]

There is a famous quote about Wagner sometimes attributed to Mark Twain but actually originated with another 19th century humorist named Bill Nye: "‘Wagner’s music, I have been informed, is really much better than it sounds.'”

[@MBulteau]

The 4 notes that open Tristan und Isolde are also an intentional quote from Berlioz's Roméo et Juliette, specifically from the beginning of "Roméo Seul" (Romeo Alone). The opening gesture is quoted almost verbatim, save for the first interval, turned from a 4th into a 6th instead, but to an F nonetheless! Wagner harmonized the landing with his famous chord, whereas Berlioz had left the melody completely bare, likely to represent Roméo's solitude. Wagner was smitten by Roméo et Juliette when he first heard it. He recounted in his autobiography to having been greatly affected by it, and that it showed him things that he didn't know could be done in music. It remained a big influence on him, as he offered the first copy of Tristan to Berlioz in 1860 with the dedication "To the dear and great author of Roméo et Juliette, the grateful author of Tristan und Isolde."

[@themusicprofessor]

Yes, of course you're right. Wagner must have been amazed by the opening of "Roméo Seul"

[@lawrencetaylor4101]

I wasn't able to enjoy the discussion about Triatan and Isolda, since I was pondering what ignoble thing Loki had been rolling in. But then I realised, it was probably unresolvable dissonance. I'll watch it a second time, which will help the Al Gore Rhythm. But I won't be able to like it as much as it deserves.

[@БорисШалагінов]

Я помню, как меня увлекала книга Эрнста Курта о тристановском аккорде в его толстенном фолианте. Но ведь столько лет прошло с тех пор! Автор ролика правильно делает, что напоминает о том, что могло быть забыто и что молодое поколение не захочет прочитать в наш век коротких лекций.

[@bradwalton3977]

Great analysis!

[@suesandlin-plaehn3565]

Wonderful!

[@jmer9126]

Fascinating. Please, more on Wagner.

[@petermcmurray2807]

More of this please. A magnificent lead in to untangling the mysteries of Chord leading from Bach to Barry Harris - I adore Loki aka the God of Mischief also a pun on Lowkey 🙂

[@magiccarpetmusic2449]

Great program. Wonderful, extremely deep analysis of this magical and hugely influential chord, and of the opera. I would be tremendously interested in any and all further programs of yours which explore the opera's incredible, gamechanging music, and Wagner's personal history and circumstances which helped bring the musical, philosophical and literary concepts underlying Tristan to their full manifestation. Another absolute timeless masterpiece is Wagner's only comic (sort of) opera, Meistersinger. Perhaps not as stunningly revolutionary as Tristan, but a work of hands down, towering brilliance - and of surprisingly clever humor - nonetheless. Without any doubt, Wagner created the pathway for western music to evolve by, Into the 20th century and beyond. Debussy, Mahler, Shoenberg, Berg, Stravinsky, Carter and others to some extent built upon Wagner's creative genius.

[@themusicprofessor]

Thank you! Yes - Die Meistersinger is just as extraordinary. It was RW's favourite piece.

[@AlanMearns-YesTheRaven]

Enjoyed greatly. Thank you 🙏

[@federicoprice2687]

Fascinating! Thank you for this very erudite resolution of the Wagnerian enigma... I bought a chordless vacuum cleaner yesterday and I can't work out how to plug it in.... Woe! 😢 😉

[@clavichord]

Wagner's voice from the grave: "I told you I was good!" 😉

[@pphedup]

😢

[@Jasper_the_Cat]

As a fan of Brazilian bossa nova I'd call that the "Corcovado" chord. :)

[@BrennanYoung]

Jobim was a huge fan of the late romantic composers, and it shows in his use of harmony.

[@LucasFranco-w5p]

As a brazilian musician, I'm quite happy to read this! I know Jobim was a big fan of Debussy, and maybe that's one possible origin. Take a listen to his "Imagina", a song he wrote in his 17's; to me sounds very debussyian. He also liked Chopin, and his "Insensatez", or "How insensitive" is heavily inspired by the Em prelude.

[@Jasper_the_Cat]

@@LucasFranco-w5p I love "Imagina"! It's amazing that Jobim was only 17 when he wrote such a beautiful song! One of my favorite Brazilian guitarists, Marcus Tardelli, does a beautiful arrangement of it on guitar (I play guitar). Oh wow I never made that connection with "Insensatiz"! But yes, I can hear it! If I recall correctly, the bridge of "Chovendo na Roseira" was another classical influenced song...? Anyhow, Brazilian music has so many great composers!

[@LucasFranco-w5p]

@@Jasper_the_Cat Yes! Well, Chovendo na Roseira definitely has that modal approach that you could certainly trace to that type of sound. This influence actually shows up in much of Jobim's work, specially his more classically inclined and "ecological" compositions (records like Matita Perê, Urubu and Passarim are examples of this direction). His "Sabiá" has a quite debussyian introduction, that even has those half diminished chords that feel taken straight from Prelude a l'apres midi dun faune. Another huge influence for him was brazilian classical composer Heitor Villa-Lobos, and you'll see many quotes of pieces like "Trenzinho do caipira" in Jobim's music. Jobim actually has composed at least one symphonic poem, Sinfonia da Alvorada, but I'd say his best work was at song writing. Anyways, always awesome to know of a brazilian music admirer! Cheers!

[@JazzGuitarScrapbook]

@@LucasFranco-w5pInutil Paisagem is an interesting one as well - chromatic contrary motion is pretty unusual.

[@stevenstreets695]

May the fourth be with you? And also with you. That really was ahead of its time.

[@lucasthecurious1189]

Great video!

[@zandernewton4452]

My theory professor talked about this and how the opera never resolves until the end. Thanks for the video!

[@nnnb896]

Do the series!!! ❤

[@maxsteele4555]

Harold Schonberg, in his Lives of the Great Composers book, writes of the enormous influence that Liszt's chromaticism had on composers. That a lieder by Liszt, Ich Mochte Hengen has the Tristan chords note for note with the exception being a D natural. He also tells an old story, possibly apocryphal in which Liszt and Wagner are in a box listening to Tristan, and Wagner says, " those are your chords, Papa." To which Liszt replied, " at least now they'll be heard."

[@thelanavishnuorchestra]

Thank you for a very interesting bit of music theory and history. I didn't know about his political leanings and that's based!

[@SteveL2012]

I have seen this opera once in the theatre. It was a good (not great) cast, yet the 5 hours flew by, seeming much quicker than far shorter operas. That, alone, was a revelation of the greatness of the work. Unfortunately there are not any even serviceable Isoldes around these days, just atrocities, so still awaiting my second time. ❤

[@themusicprofessor]

It's true: time flies in a good production of Wagner. I saw it recently at Glyndebourne (UK) with Miina-Liisa Värelä as Isolde. She was terrific. But it's SO hard (almost impossible) to cast an opera in which you need fabulous vocal skills, fabulous acting talent, immense powers of concentration and sheer endurance and...you need to look viable as a romantic lead.

[@michaelmedlinger6399]

@@themusicprofessorAccording to Birgitt Nilsson, the most important thing to have when singing Isolde: good shoes!😂

[@giampierogirolamo7134]

Loved the video

[@Peter-sk5vg]

Brilliant exposition. I must say that there is very similar harmony to this chord to be found in Thelonious Monk's Round Midnight ...the tritone is, as you know, vry common in bebop. Without wishing to sound facetious, Black Sabbath used a tritone on their first single! (Not claiming it has any equivalence!!)

[@grumpyoldpianistplus]

The chord illustrated at the beginning of the talk is a G# minor 6th, in inversion. It's not an unusual chord (ask any guitarist), but more that it is unexpected in the middle of other chords, and improved by the use of the orchestral instruments which Wagner chooses.

[@adrianaratsch-rivera7561]

Great anayisis! Thank you!!! ❤

[@jlinden1419]

PLEASE continue to explore T&I here!

[@ultramet]

Ah Wilcocks...”WORD of the Father” . Well, not really the same but close to the Tristan chord. Really appreciate your videos and love the historical context.

[@raymon008]

Yes! Please do the others you suggested :)