The Tristan chord is a
chord made up of the notes F, B, D, and G:
:
More generally, it can be any chord that consists of these same
intervals:
augmented fourth
Augment or augmentation may refer to:
Language
*Augment (Indo-European), a syllable added to the beginning of the word in certain Indo-European languages
*Augment (Bantu languages), a morpheme that is prefixed to the noun class prefix of nouns i ...
,
augmented sixth
In classical music from Western culture, an augmented sixth () is an interval produced by widening a major sixth by a chromatic semitone.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.54. . Specific example of an A6 not g ...
, and
augmented ninth
In music, a ninth is a compound interval consisting of an octave plus a second.
Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its ...
above a
bass note
In music theory, the bass note of a chord or sonority is the lowest note played or notated. If there are multiple voices it is the note played or notated in the lowest voice (the note furthest in the bass.)
Three situations are possible:
# ...
. It is so named as it is heard in the opening phrase of
Richard Wagner
Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most op ...
's
opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librett ...
''
Tristan und Isolde
''Tristan und Isolde'' (''Tristan and Isolde''), WWV 90, is an opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan and Iseult by Gottfried von Strassburg. It was compose ...
'' as part of the
leitmotif
A leitmotif or leitmotiv () is a "short, recurring musical phrase" associated with a particular person, place, or idea. It is closely related to the musical concepts of ''idée fixe'' or ''motto-theme''. The spelling ''leitmotif'' is an anglici ...
relating to Tristan.
Background
The notes of the Tristan chord are not unusual; they could be
respelled enharmonically to form a common
half-diminished seventh chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1,  ...
. What distinguishes the chord is its unusual relationship to the implied key of its surroundings.
:
:
This
motif also appears in measures 6, 10, and 12, several times later in the work, and at the end of the last act.
points out the "chord" in earlier works by
Guillaume de Machaut,
Carlo Gesualdo
Carlo Gesualdo da Venosa ( – 8 September 1613) was Prince of Venosa and Count of Conza. As a composer he is known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century ...
,
J. S. Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard wo ...
,
Mozart
Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period (music), Classical period. Despite his short life, his ra ...
,
Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical ...
, or
Louis Spohr
Louis Spohr (, 5 April 178422 October 1859), baptized Ludewig Spohr, later often in the modern German form of the name Ludwig, was a German composer, violinist and conductor. Highly regarded during his lifetime, Spohr composed ten symphonies, t ...
as in the following example from the first movement of Beethoven's
Piano Sonata No. 18:
:
:
The chord is found in several works by
Chopin, from as early as 1828, in the
Sonata in C minor, Op. 4 and his
Scherzo No. 1, composed in 1830. It is only in late works where tonal ambiguities similar to Wagner's arise, as in the
Prelude in A minor, Op. 28, No. 2, and the posthumously published
Mazurka in F minor, Op. 68, No. 4.
The Tristan chord's significance is in its move away from traditional
tonal harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However ...
, and even toward
atonality
Atonality in its broadest sense is music that lacks a tonal center, or key. ''Atonality'', in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a s ...
. With this chord, Wagner actually provoked the ''sound'' or structure of musical harmony to become more predominant than its
function
Function or functionality may refer to:
Computing
* Function key, a type of key on computer keyboards
* Function model, a structured representation of processes in a system
* Function object or functor or functionoid, a concept of object-oriente ...
, a notion that was soon explored by
Debussy
(Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the ...
and others. In the words of
Robert Erickson
Robert Erickson (March 7, 1917 – April 24, 1997) was an American composer.
Education
Erickson was born in Marquette, Michigan. He studied with Ernst Krenek from 1936 to 1947: "I had already studied—and abandoned—the twelve tone sy ...
, "The Tristan chord is, among other things, an identifiable sound, an entity beyond its functional qualities in a tonal organization".
Analysis
Much has been written about the Tristan chord's possible harmonic functions or
voice leading
Voice leading (or part writing) is the linear progression of individual melodic lines ( voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counte ...
and the motif has been interpreted in various ways. Though enharmonically equivalent to the half-diminished seventh chord F
7 (F–A–C–E), the Tristan chord can also be interpreted in many ways. Nattiez distinguishes between
functional
Functional may refer to:
* Movements in architecture:
** Functionalism (architecture)
** Form follows function
* Functional group, combination of atoms within molecules
* Medical conditions without currently visible organic basis:
** Functional sy ...
and nonfunctional analyses of the chord.
Functional analyses
Functional analyses have interpreted the chord in the key of A minor in many ways:
*The chord is an augmented sixth chord, specifically a
French sixth chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musi ...
, F–B–D-A, with the note G heard as an
appoggiatura
An appoggiatura ( , ; german: Vorschlag or ; french: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord. By putting the non-chord tone on a strong beat, ( ...
resolving to A. (Theorists debate the root of French sixth chords.) The harmonic function as a predominant is intact, with the chord moving to V7. Note that, in this view, the G# resolving upward to A is the 2nd of 3 consecutive accented dissonances resolving by half step.
Alfred Lorenz and others interpret it more broadly as an
augmented sixth chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musi ...
F–A–D, based after
Hugo Riemann
Karl Wilhelm Julius Hugo Riemann (18 July 1849 – 10 July 1919) was a German musicologist and composer who was among the founders of modern musicology. The leading European music scholar of his time, he was active and influential as both a musi ...
on the principle that there are only three chord functions: tonic, predominant, and dominant.
*The root is the second scale degree, B.
*The root is the fourth scale degree, D. Arend interprets it as "a modified
minor seventh chord
In music, a minor seventh chord is a seventh chord composed of a root note, together with a minor third, a perfect fifth, and a minor seventh (1, 3, 5, 7).
For example, the minor seventh chord built on C, commonly written as C–7, h ...
"
:: F–B–D–G → F–C–E–A → F–B–D–A = D–F–A
*The chord is a
secondary dominant
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization.
Secondary chords are a typ ...
, V/V, and thus also with a root on B. This favors the fifth motion from B to E, seeing the chord as a
seventh chord with lowered fifth (B–D(D)–F–A).
Vincent d'Indy
Paul Marie Théodore Vincent d'Indy (; 27 March 18512 December 1931) was a French composer and teacher. His influence as a teacher, in particular, was considerable. He was a co-founder of the Schola Cantorum de Paris and also taught at the P ...
analyses the chord as a IV chord after Riemann's transcendent principle (as phrased by
Serge Gut
Serge Gut (25 June 1927 – 31 March 2014 on ResMusica) was a French musicologist of Swiss origin.
Biography
A pupil of Simone Plé-Caussade, Tony Aubin and Olivier Messiaen at the Conservatoire de Paris, of Solange Corbin and Jacques Chaill ...
: "the most classic succession in the world: Tonic, Predominant, Dominant" ) and rejects the idea of an added "lowered seventh", eliminates "all artificial, dissonant notes, arising solely from the melodic motion of the voices, and therefore foreign to the chord," finding that the Tristan chord is "no more than a predominant in the key of A, collapsed in upon itself melodically, the harmonic progression represented thus:
:
, independently, sees the G as an appoggiatura to A, describing that
According to
Jacques
Ancient and noble French family names, Jacques, Jacq, or James are believed to originate from the Middle Ages in the historic northwest Brittany region in France, and have since spread around the world over the centuries. To date, there are over ...
, discussing Dommel-Diény and Gut, "it is rooted in a simple dominant chord of A ''minor''
major which includes two appoggiaturas resolved in the normal way". Thus, in this view it is not a chord but an
anticipation
Anticipation is an emotion involving pleasure or anxiety in considering or awaiting an expected event. Anticipatory emotions include fear, anxiety, hope and trust. When the anticipated event fails to occur, it results in disappointment (if posit ...
of the
dominant chord
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So ...
in measure three. Chailley did once write:
Fred Lerdahl
Alfred Whitford (Fred) Lerdahl (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor Emeritus of Musical Composition at Columbia University, and a composer and music theorist best known for his work on musical grammar and co ...
presents alternate interpretations of the Tristan motive, as either i ii643
rench sixth: F–B–D–AV7 or as VI (iv) (vii642)
altered_
altered_predominant_chord">pre-dominant:_F–B–D–G.html" ;"title="predominant_chord.html" ;"title="altered_chord.html" ;"title="
altered_predominant_chord">pre-dominant:_F–B–D–G">predominant_chord.html"_;"title="altered_chord.html"_;"title="altered_chord">altered_predominant_chord">pre-dominant:_F–B–D–GV7,_both_in_A_minor,_concluding_that_while_both_interpretations_have_strong_expectation_or_attraction,_that_the_version_with_G_is_the_stronger_progression.
_Nonfunctional_analyses
Nonfunctional_analyses_are_based_on_structure_(rather_than_function),_and_are_characterized_as_vertical_characterizations_or_linear_analyses.
Vertical_characterizations_include_interpreting_the_chord's_root_as_on_the_seventh_degree_(VII),_of_F_minor.
Linear_analyses_include_that_of_Noske_and_Heinrich_Schenker.html" ;"title="altered chord">altered predominant chord">pre-dominant: F–B–D–G">predominant_chord.html" ;"title="altered_chord.html" ;"title="altered chord">altered predominant chord">pre-dominant: F–B–D–GV7, both in A minor, concluding that while both interpretations have strong expectation or attraction, that the version with G is the stronger progression.
Nonfunctional analyses
Nonfunctional analyses are based on structure (rather than function), and are characterized as vertical characterizations or linear analyses.
Vertical characterizations include interpreting the chord's root as on the seventh degree (VII), of F minor.
Linear analyses include that of Noske and Heinrich Schenker">Schenker was the first to analyze the motif entirely through melodic concerns. Schenker and later Mitchell compare the Tristan chord to a dissonant contrapuntal gesture from the E minor fugue of ''The Well-Tempered Clavier'', Book I.
William Mitchell, viewing the Tristan chord from a Schenkerian perspective, does not see the G as an appoggiatura because the melodic line (G–A–A–B) ascends to B, making the A a
passing note
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the ...
. This ''ascent'' by
minor third
In music theory, a minor third is a musical interval that encompasses three half steps, or semitones. Staff notation represents the minor third as encompassing three staff positions (see: interval number). The minor third is one of two com ...
is mirrored by the descending line (F–E–D–D), a ''descent'' by minor third, making the D, like A, an appoggiatura. This makes the chord a
diminished seventh chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh ...
(G–B–D–F).
Serge Gut argues that, "if one focuses essentially on melodic motion, one sees how its dynamic force creates a sense of an appoggiatura each time, that is, at the beginning of each measure, creating a mood both feverish and tense ... thus in the soprano motif, the G and the A are heard as appoggiaturas, as the F and D in the initial motif." The chord is thus a
minor chord
In music theory, a minor chord is a chord that has a root, a minor third, and a perfect fifth. When a chord comprises only these three notes, it is called a minor triad. For example, the minor triad built on C, called a C minor triad, has pit ...
with an
added sixth
An added tone chord, or added note chord, is a non-tertian chord composed of a triad and an extra "added" note. Any tone that is not a seventh factor is commonly categorized as an added tone. It can be outside the tertian sequence of ascendin ...
(D–F–A–B) on the fourth degree (IV), though it is engendered by melodic waves.
Allen Allen, Allen's or Allens may refer to:
Buildings
* Allen Arena, an indoor arena at Lipscomb University in Nashville, Tennessee
* Allen Center, a skyscraper complex in downtown Houston, Texas
* Allen Fieldhouse, an indoor sports arena on the Unive ...
first identifies the chord as an atonal set,
4–27 (
half-diminished seventh chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1,  ...
), then "elect
to place that consideration in a secondary, even tertiary position compared to the most dynamic aspect of the opening music, which is clearly the large-scale ascending motion that develops in the upper voice, in its entirety a linear projection of the Tristan Chord transposed to level three, g′–b′–d″–f″.
Schoenberg describes it as a "wandering chord
agierender Akkord.. it can come from anywhere".
Mayrberger's opinion
After summarizing the above analyses Nattiez asserts that the context of the Tristan chord is A minor, and that analyses which say the key is E or E are "wrong". He privileges analyses of the chord as on the second degree (II). He then supplies a Wagner-approved analysis, that of Czech professor Carl Mayrberger who "places the chord on the second degree, and interprets the G as an
appoggiatura
An appoggiatura ( , ; german: Vorschlag or ; french: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord. By putting the non-chord tone on a strong beat, ( ...
. But above all, Mayrberger considers the attraction between the E and the real bass F to be paramount, and calls the Tristan chord a ''Zwitterakkord'' (an ambiguous, hybrid, or possibly bisexual or androgynous, chord), whose F is controlled by the key of A minor, and D by the key of E major".
Responses and influences
The chord and the figure surrounding it is well enough known to have been parodied and
quoted by a number of later musicians. Debussy includes the chord in a setting of the phrase ''je suis triste'' in his opera ''
Pelléas et Mélisande''. Debussy also jokingly quotes the opening bars of Wagner's opera several times in "Golliwogg's Cakewalk" from his piano suite ''
Children's Corner
''Children's Corner'', L. 113, is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was first performed by Harold Bauer in Paris on 18 December that year. In 1911, an orchestration by André Caple ...
''.
Benjamin Britten
Edward Benjamin Britten, Baron Britten (22 November 1913 – 4 December 1976, aged 63) was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works including opera, other ...
slyly invokes it at the moment in ''
Albert Herring
''Albert Herring'', Op. 39, is a chamber opera in three acts by Benjamin Britten.
Composed in the winter of 1946 and the spring of 1947, this comic opera was a successor to his serious opera ''The Rape of Lucretia''. The libretto, by Eric Cr ...
'' when Sid and Nancy spike Albert's lemonade and then, when he drinks it, the chord "runs riot through the orchestra and recurs irreverently to accompany his hiccups".
Paul Lansky based the harmonic content of his first electronic piece, ''mild und leise'' (1973), on the Tristan chord. This piece is best known from being sampled in the
Radiohead
Radiohead are an English rock band formed in Abingdon, Oxfordshire, in 1985. The band consists of Thom Yorke (vocals, guitar, piano, keyboards); brothers Jonny Greenwood (lead guitar, keyboards, other instruments) and Colin Greenwood (bass) ...
song "
Idioteque
"Idioteque" is a song by the English rock band Radiohead, released on their fourth album, '' Kid A'' (2000). In 2008, the song was featured on '' Radiohead: The Best Of.'' A live version appears on the 2001 EP '' I Might Be Wrong: Live Recordings ...
".
Bernard Herrmann
Bernard Herrmann (born Maximillian Herman; June 29, 1911December 24, 1975) was an American composer and conductor best known for his work in composing for films. As a conductor, he championed the music of lesser-known composers. He is widely re ...
incorporated the chord in his scores for ''
Vertigo
Vertigo is a condition where a person has the sensation of movement or of surrounding objects moving when they are not. Often it feels like a spinning or swaying movement. This may be associated with nausea, vomiting, sweating, or difficulties w ...
'' (1958) and ''
Tender is the Night
''Tender Is the Night'' is the fourth and final novel completed by American writer F. Scott Fitzgerald. Set in French Riviera during the twilight of the Jazz Age, the 1934 novel chronicles the rise and fall of Dick Diver, a promising young p ...
'' (1962).
Christian Thielemann
Christian Thielemann (born 1 April 1959) is a German conductor. He is currently chief conductor of the Staatskapelle Dresden. He was artistic director of the Salzburg Easter Festival from 2013 to 2022, and a regular conductor at the Bayreuth Fe ...
, the music director of the
Bayreuth Festival
The Bayreuth Festival (german: link=no, Bayreuther Festspiele) is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th-century German composer Richard Wagner are presented. Wagner himself conceived ...
from 2015-20, discussed the Tristan chord in his book, ''My Life with Wagner'': the chord "is the password, the cipher for all modern music. It is a chord that does not conform to any key, a chord on the verge of dissonance", and "The Tristan chord does not seek to be resolved in the closest consonance, as the classic theory of harmony requires;
tis sufficient unto itself, just as Tristan and Isolde are sufficient unto themselves and know only their love."
More recently, American composer and humorist
Peter Schickele
"Professor" Peter Schickele (; born July 17, 1935) is an American composer, musical educator, and parodist, best known for comedy albums featuring his music, but which he presents as being composed by the fictional P. D. Q. Bach. He also hosted ...
crafted a
tango
Tango is a partner dance and social dance that originated in the 1880s along the Río de la Plata, the natural border between Argentina and Uruguay. The tango was born in the impoverished port areas of these countries as the result of a combina ...
around the Tristan prelude, a chamber work for four
bassoon
The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuo ...
s entitled ''Last Tango in Bayreuth''.
The Brazilian conductor and composer
Flavio Chamis wrote ''Tristan Blues'', a composition based on the Tristan chord. The work, for harmonica and piano was recorded on the CD ''Especiaria'', released in Brazil by the Biscoito Fino label.
The prelude of Wagner's opera is prominently used in the film
''Melancholia'' by
Lars von Trier
Lars von Trier (''né'' Trier; 30 April 1956) is a Danish filmmaker, actor, and lyricist. Having garnered a reputation as a highly ambitious, polarizing filmmaker, he has been the subject of several controversies: Cannes, in addition to nominat ...
.
See also
*
Elektra chord
The ''Elektra'' chord is a "complexly dissonant signature- chord"Lawrence Kramer. "Fin-de-siècle Fantasies: ''Elektra'', Degeneration and Sexual Science", ''Cambridge Opera Journal'', Vol. 5, No. 2. (Jul., 1993), pp. 141-165. and motivic elabo ...
*
Mystic chord
In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabi ...
*
Petrushka chord
The Petrushka chord is a recurring polytonal device used in Igor Stravinsky's ballet '' Petrushka'' and in later music. These two major triads, C major and F major – a tritone apart – clash, "horribly with each other", when sounded together ...
*
Psalms chord
In music, the Psalms chord is the opening chord of Igor Stravinsky's '' Symphony of Psalms''. It is a "barking E minor triad" that is voiced "like no E-minor triad that was ever known before" – that is, in two highly separate groups, one in t ...
*
Synthetic chord
In music theory and harmonic analysis, a synthetic chord is a made-up or non-traditional (synthetic) chord (collection of pitches) which cannot be analyzed in terms of traditional harmonic structures, such as the triad or seventh chord.
Ho ...
References
Sources
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Further reading
* Bailey, Robert (1986). ''Prelude and Transfiguration from Tristan and Isolde'' (Norton Critical Scores). New York: W. W. Norton. . Contains complete orchestral score, together with extensive discussion of the Prelude (especially the chord), Wagner's sketches, and leading essays by various analysts.
* Ellis, Mark (2010). ''A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler''. Farnham: Ashgate. .
*
Jadassohn, Salomon. 1899a. ''Erläuterungen der in Joh. Seb. Bach's Kunst der Fuge enthaltenen Fugen und Kanons''. Leipzig: Breitkopf & Härtel. English as, ''An Analysis of the Fugues and Canons Contained in Joh. Seb. Bach's "Art of fugue"''. Leipzig: Breitkopf & Härtel, 1899.
* Jadassohn, Salomon. 1899b. ''A Manual of Harmony''. New York: G. Schirmer.
* Jadassohn, Salomon. 1899c. ''Ratschläge und Hinweise für die Instrumentationsstudien der Anfänger''. Leipzig: Breitkopf & Härtel.
* Jadassohn, Salomon. 1899d. ''Das Wesen der Melodie in der Tonkunst''. Leipzig: Breitkopf & Härtel. ''Das Tonbewusstsein: die Lehre vom musikalischen Hören''. English as, ''A Practical Course in Ear Training; or, a Guide for Acquiring Relative and Absolute Pitch'', translated from the German by Le Roy B. Campbell. Leipzig: Breitkopf & Härtel, 1899.
* Jadassohn, Salomon. 1899e. ''Zur Einführung in J.S. Bach's Passions-Musik nach dem Evangelisten Matthaeus''. Berlin: Harmonie.
*
* Mayrberger, Carl. 1994
881 "Die Harmonik Richard Wagner’s an den Leitmotiven aus ''Tristan und Isolde'' (1881)", translated and annotated by
Ian Bent Ian David Bent (born 1 January 1938) is a British-born music scholar. He is now Professor Emeritus, after retiring from Full Professor of Music, at Columbia University and Honorary Professor in the History of Music Theory at the University of Cambr ...
. In ''Music Analysis in the Nineteenth Century, Volume 1: Fugue, Form and Style'', edited by Ian Bent, 221–252. Cambridge University Press, 1994. .
* Contains discussion of the Tristan chord as "androgynous". 1997 English edition (translated by Stewart Spencer) .
*
Riemann, Hugo. 1872. "Über Tonalität". ''
Neue Zeitschrift für Musik
'Die'' (; en, " heNew Journal of Music") is a music magazine, co-founded in Leipzig by Robert Schumann, his teacher and future father-in law Friedrich Wieck, and his close friend Ludwig Schuncke. Its first issue appeared on 3 April 1834.
His ...
'' 68: 443–445, 451–454.
* Riemann, Hugo. 1875. ''Die Hülfsmittel der Modulation: Studie von Dr. Hugo Riemann''. Kassel: F. Luckhardt.
* Riemann, Hugo. 1877. ''Musikalische Syntaxis: Grundriss einer harmonischen Satzbildungslehre'', revised edition. Leipzig: Breitkopf & Härtel.
* Riemann, Hugo. 1882. "Die Natur der Harmonik". In ''Sammlung musikalischer Vorträge'' 40, revised edition, edited by P. Graf Waldersee, 4:157–190. Leipzig: Breitkopf & Härtel. English translation, as "The Nature of Harmony", by John Comfort Fillmore, in his ''New Lessons in Harmony'', 3–32. Philadelphia: Theodore Presser, 1887.
* Riemann, Hugo. 1883a. ''Elementar-Musiklehre''. Hamburg: K. Grädener & J. F. Richter.
* Riemann, Hugo. 1883b. ''Neue Schule der Melodik: Entwurf einer Lehre des Kontrapunkts nach einer neuen Methode''. Hamburg: K. Grädener & J. F. Richter.
* Riemann, Hugo. 1887. ''Systematische Modulationslehre als Grundlage der musikalischen Formenlehre''. Hamburg: J. F. Richter.
* Riemann, Hugo. 1893. ''Opern-Handbuch'', second edition, with a supplement by F. Stieger. Leipzig: Koch.
* Riemann, Hugo. 1895. ''Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik'', revised edition, vol. 1. Frankfurt: Bechhold.
* Riemann, Hugo. 1900. ''Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik'', revised edition, vol. 2. Leipzig: Seemann.
* Riemann, Hugo. 1901a. ''Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik'', vol. 3,. Leipzig: Seemann. Reprint (3 vols. in 1), Hildesheim: G. Olms, 1967. Reprint (3 vols. in 2), Nendeln/Liechtenstein: Kraus Reprint, 1976.
* Riemann, Hugo. 1901b. ''Geschichte der Musik seit Beethoven (1800–1900) ''. Berlin and Stuttgart: W. Spemann
* Riemann, Hugo. 1903. ''Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde'', second edition. London: Augener; New York: G. Schirmer.
* Riemann, Hugo. 1905. "Das Problem des harmonischen Dualismus". ''
Neue Zeitschrift für Musik
'Die'' (; en, " heNew Journal of Music") is a music magazine, co-founded in Leipzig by Robert Schumann, his teacher and future father-in law Friedrich Wieck, and his close friend Ludwig Schuncke. Its first issue appeared on 3 April 1834.
His ...
'' 101:3–5, 23–26, 43–46, 67–70
* Riemann, Hugo. 1902–13. ''Grosse Kompositionslehre'', revised edition, 3 vols. Berlin and Stuttgart: W. Spemann.
* Riemann, Hugo. 1914–15. "Ideen zu einer 'Lehre von den Tonvorstellungen'", ''Jahrbuch der Musikbibliothek Peters 1914–15'', 1–26. Reprinted in ''Musikhören'', edited by B. Dopheide, 14–47. Darmstadt:
.n.? 1975. English translation by ? in ''
Journal of Music Theory
The ''Journal of Music Theory'' is a peer-reviewed academic journal specializing in music theory and analysis. It was established by David Kraehenbuehl (Yale University) in 1957.
According to its website, " e ''Journal of Music Theory'' fosters c ...
'' 36 (1992): 69–117.
* Riemann, Hugo. 1916. "Neue Beiträge zu einer Lehre von den Tonvorstellungen". ''Jahrbuch der Musikbibliothek Peters 1916'': 1–21.
* Riemann, Hugo. 1919. ''Elementar-Schulbuch der Harmonielehre'', third edition. Berlin: Max Hesse.
* Riemann, Hugo. 1921. ''Geschichte der Musiktheorie im 9.–19. Jahrhundert'', revised edition, 3 vols. Brlin: Max Hesse. Reprinted, Hildesheim: G. Olms, 1990. .
* Riemann, Hugo. 1922. ''Allgemeine Musiklehre: Handbuch der Musik'', 9th edition. Max Hesses Handbücher 5. Berlin: Max Hesse.
* Riemann, Hugo. 1929. ''Handbuch der Harmonielehre'', 10th edition, formerly titled ''Katechismus der Harmonie- und Modulationslehre'' and ''Skizze einer neuen Methode der Harmonielehre''. Leipzig: Breitkopf & Härtel.
*
Schering, Arnold (1935). "Musikalische Symbolkunde". ''Jahrbuch der Musikbibliothek'':15–36.
* Stegemann, Benedikt (2013). ''Theory of Tonality''. Theoretical Studies. Wilhelmshaven: Noetzel. .
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* Wolzogen, Hans von (1906b). "Einführung". In Heinrich Porges, ''Tristan und Isolde'', with an introduction by Hans von Wolzogen. Leipzig: Breitkopf & Härtel.
* Wolzogen, Hans von (1907). "Einführung". In Richard Wagner, ''Entwürfe zu: Die Meistersinger von Nürnberg, Tristan und Isolde, Parsifal'', edited by Hans von Wolzogen. Leipzig: C. F. W. Siegel.
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{{Richard Wagner
Chords
Opera terminology
Richard Wagner
Post-tonal music theory