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Tristan chord
The Tristan chord is a chord made up of the notes F, B, D♯, and G♯:
Tristan chord
Component intervals from root
augmented second
augmented sixth
augmented fourth (tritone)
0:00 root [F]
Forte no. / Complement
More generally, it can be any chord that consists of these same intervals: augmented
fourth, augmented sixth, and augmented ninth above a bass note. It is so named as it is 4–27 / 8–27
heard in the opening phrase of Richard Wagner's opera Tristan und Isolde as part of the
leitmotif relating to Tristan.

Contents
Background
Analysis
Functional analyses
Nonfunctional analyses
Mayrberger's opinion
Responses and influences
See also
References
Further reading
External links

Background
The notes of the Tristan chord are not unusual; they could be respelled enharmonically to form a common half-diminished seventh
chord. 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.

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Martin Vogel points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J.S. Bach, Mozart, Beethoven, or
Louis Spohr (Vogel 1962, p. 12, cited in Nattiez 1990, p. 219) as in the following example from the first movement of Beethoven's
Piano Sonata No. 18:

0:00 / 0:00

The chord is found in several works by Chopin, from as early as 1828, in the Sonata in C minor, Op. 4. 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 (Gołąb 1987,).

The Tristan chord's significance is in its move away from traditional tonal harmony, and even toward atonality. With this chord,
Wagner actually provoked the sound or structure of musical harmony to become more predominant than its function, a notion that was
soon explored by Debussy and others. In the words of Robert Erickson, "The Tristan chord is, among other things, an identifiable
sound, an entity beyond its functional qualities in a tonal organization" (Erickson 1975, p. 18).

Analysis
Much has been written about the Tristan chord's possible harmonic functions or voice leading and the motif has been interpreted in
various ways. Though enharmonically equivalent to the half-diminished seventh chord Fø7 (F–A♭–C♭–E♭), the Tristan chord can also
be interpreted in many ways. Nattiez (1990, pp. 219–29), distinguishes between functional and nonfunctional analyses of the chord.

Functional analyses
Functional analyses have interpreted the chord's root on different scale degrees, in A minor:

The root is the fourth scale degree, IV. Arend interprets it as "a modified minor seventh chord" (Arend 1901,)

F–B–D♯–G♯ → F–C♭–E♭–A♭ → F–B–D–A = D–F–A

while Alfred Lorenz and others, interpret it as an augmented sixth chord F–A–D♯ (D'Indy 1903,,
Lorenz & 1924–33,, Deliège 1979,, Gut 1981,) based after Riemann on the transcendent
principle that there are only three functions: tonic, subdominant, and dominant.

The root is the second degree, II (Piston 1941,, Goldman 1965,, Schoenberg 1954,, Schoenberg 1969, p. 77). These
theorists interpret the chord as a French sixth chord (F–A–B–D♯), based on the transcendent principle of closeness
on the circle of fifths with IV being farther than II, with G♯ seen as an accented passing tone.
The chord is a secondary dominant, V/V, and thus also with a root on B (Ergo 1912,, Kurth 1920,, Distler 1940,). 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 (1903, p. 117, cited in Nattiez 1990, p. 224) analyses the chord as a IV chord after Riemann's transcendent principle
(as phrased by Serge Gut (Gut 1981, p. 150): "the most classic succession in the world: Tonic, Subdominant, Dominant" ) and rejects
the idea of an added "lowered seventh", eliminates "all artificial, dissonant notes, arising solely from the melodic motion of the voices,

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and therefore foreign to the chord," finding that the

Tristan chord is "no more than a subdominant in the
key of A, collapsed in upon itself melodically, the
harmonic progression represented thus:

The Tristan chord analyzed as a French sixth (in red) with

appoggiatura and dominant seventh with passing tone in A minor
(Benward and Saker 2008, p. 233).

Célestin Deliège, independently, sees the G♯ as an appoggiatura to A, describing that

in the end only one resolution is acceptable, one that takes the subdominant degree as the root of the chord, which
gives us, as far as tonal logic is concerned, the most plausible interpretation ... this interpretation of the chord is
confirmed by its subsequent appearances in the Prelude's first period: the IV6 chord remains constant; notes foreign to
that chord vary. (Deliège 1979, p. 23)

According to Jacques Chailley (1963, p. 40), discussing Dommel-

Diény 1965 and Gut 1981, p. 149, cited in Nattiez (1990, p. 220), "it
is rooted in a simple dominant chord of A minor [E major], which
includes two appoggiaturas resolved in the normal way". Thus, in
this view it is not a chord but an anticipation of the dominant chord
in measure three. Chailley did once write:
The Tristan chord as appoggiaturas resolving to a
Tristan's chromaticism, grounded in appoggiaturas dominant
and passing notes, technically and spiritually
represents an apogee of tension. I have never been
able to understand how the preposterous idea that
Tristan could be made the prototype of an atonality
grounded in destruction of all tension could possibly
have gained credence. This was an idea that was
disseminated under the (hardly disinterested)
authority of Schoenberg, to the point where Alban
Berg could cite the Tristan Chord in the Lyric Suite,
as a kind of homage to a precursor of atonality. This
curious conception could not have been made except
as the consequence of a destruction of normal
analytical reflexes leading to an artificial isolation of
an aggregate in part made up of foreign notes, and to
consider it—an abstraction out of context—as an
organic whole. After this, it becomes easy to
convince naive readers that such an aggregation
escapes classification in terms of harmony
textbooks. (Chailley 1963, p. 8)

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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) (Ward 1970, Sadai 1980), of F♯ minor
(Kistler 1879,, Jadassohn 1899,).

Linear analyses include that of Noske (1981, pp. 116–17) and 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 (cf. Schenker 1925–1930, 2: p. 29).

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. This ascent by minor third 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
(G♯–B–D–F).

Serge Gut (1981, p. 150), 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 with an
added sixth (D–F–A–B) on the fourth degree (IV), though it is engendered by melodic waves.

Allen Forte (1988, p. 328) first identifies the chord as an atonal set, 4–27 (half-diminished seventh chord), then "elect[s] 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 [vagierender Akkord]... it can come from anywhere" (Schoenberg 1911, p. 284).

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 (1878),), who "places the chord on the second degree, and interprets the G♯ as an
appoggiatura. 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" (Nattiez 1990,).

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 (Huebner 1999, p. 477). Debussy
also jokingly quotes the opening bars of Wagner's opera several times in "Golliwogg's Cakewalk" from his piano suite Children's
Corner (Groos 2011, p. 163). Benjamin Britten slyly invokes it at the moment in Albert Herring 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"
(Howard 1969, pp. 57–58). Paul Lansky based the harmonic content of his first electronic piece, mild und leise (1973), on the Tristan
chord (Grimshaw). This piece is best known from being sampled in the Radiohead song "Idioteque".

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More recently, American composer and

humorist Peter Schickele crafted a tango
around this same figure, a chamber work
for four bassoons 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 0:00 / 0:00
Biscoito Fino label (Anon. 2006).
Four measures of "Golliwog's Cakewalk" from Claude Debussy's Children's
In 1993, the opening theme was used in
Corner that quote the opening of the opera
the film Thirty Two Short Films About
Glenn Gould in the scene on Lake Simcoe
as performed by the NBC Symphony Orchestra, conducted by Arturo Toscanini (recorded 1952). Gould had been a fan of Wagner and
adapted some of his music to piano, some of Gould's rare recordings from the Romantic Period. The prelude of Wagner's opera is also
prominently used in the film Melancholia by Lars von Trier (Page 2011).

See also
Synthetic chord
Elektra chord
Mystic chord
Petrushka chord
Psalms chord

References
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m.br/en/cat_produto_cada.php?id=246)". Biscoito Fino website (archive from 24 August 2011, accessed 16 May
2014).
Arend, M. (1901). "Harmonische Analyse des Tristan-Vorspiels", Bayreuther Blätter. No. 24: 160–69. Cited in Nattiez
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Benward, Bruce, and Marilyn Nadine Saker (2008). Music in Theory and Practice, vol. 2. Boston: McGraw-Hill.
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Ergo, E. (1912). "Über Wagners Harmonik und Melodik". Bayreuther Blätter, no. 35:34–41.
Ellis, Mark (2010). A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler. Farnham:
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Further reading
Bailey, Robert (1986). Prelude and Transfiguration from Tristan and Isolde (Norton Critical Scores). New York: W. W.
Norton & Co., Inc. ISBN 0-393-95405-6. Contains complete orchestral score, together with extensive discussion of
the Prelude (especially the chord), Wagner's sketches, and leading essays by various analysts.
Magee, Bryan (2002), The Tristan Chord: Wagner and Philosophy, ISBN 0-8050-7189-X
Nattiez, Jean-Jacques (1990), Wagner androgyne, ISBN 2-267-00707-X Contains discussion of the Tristan chord as
"androgynous". 1997 English edition (translated by Stewart Spencer) ISBN 0-691-04832-0.
Stegemann, Benedikt (2013). Theory of Tonality. Theoretical Studies. Wilhelmshaven: Noetzel. ISBN 978-3-7959-
0963-5.

External links
Some occurrences of the Tristan chord in the scores of Petrucci Music Library (http://www.peachnote.com/#!site=imsl
p.org&nt=chordAbsolute&npq=53_6_4_5)

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