Wagner Die Walküre 3rd Act 3rd Scene (Wotan vs Brünnhilde) Harmonic Analysis

#valkyrie #rideofthevalkyries #musictheory #analysis #bassocontinuo #thoroughbass #richardwagner 1:40 War es so schmählich 5:52 Nicht weise bin ich 10:07 So tatest du, was so gern zu tun ich begehrt 16:27 Du zeugtest ein edles Geschlecht 22:09 Leb wohl, du kühnes, herrliches Kind 23:58 Denn einer nur freie die Braut, der freier als ich, der Gott 31:52 Loge hör! Lausche hierher! This is a basso continuo style harmonic analysis of the third scene in the third act of Richard Wagner’s ‘Die Walküre‘. It is one of opera’s most intimate duets between father and daughter, stretching over the last half hour of the opera with some of the most beautiful moments of Wagner’s entire work. If you want a short plot overview of Wagner’s gigantonormous ‘Ring des Nibelungen‘, check out Sydney Symphony Orchestra’s 2,5 minute summary:    • Wagner's 15-hour Ring Cycle...in two and a...   The analysis method I chose is a combination of scale degrees and general bass (thorough bass) figures: Harmony is the result of the intervals over the bass note (no matter if the bass and the root note are identical). And each bass note is put into relation with the (actual or assumed) key of the phrase, marked in roman (!!) numerals. Within these, IVn refers to a fourth scale degree with the Neapolitan sixth. Square brackets mark inversion of chords, something basso continuo is very bad at describing easily. I put chord symbols also at some places (e.g. pedal point, advanced harmonies) where putting just basso continuo figures wouldn’t do the job. Wherever possible, only the bass note and the current melody part are presented (although in some cases, two overlapping melody parts are accepted / cannot be avoided). With this sheet, an experienced basso continuo player might be able to reproduce all harmonic phenomena happening in the original score while emphasizing the most prominent melodic shapes. The results presented in this analysis are neither universal nor do they claim to be the only correct solution. One can argue that it will leave out many important voice leading aspects and that some assignments are debatable and rather subjective. On the other hand, since it’s subjective, I find it very useful to represent what actually might be happening in your brain when listening to it (whether you are aware of it or not). And since general bass and scale degree thinking was very common in Wagner’s time, this method might even claim to represent what Wagner actually could have been consciously or unconsciously thinking when he composed ‘Die Walküre‘. Recording is the 1980 Bayreuth staging by Patrice Chéreau, conducted by Pierre Boulez, sung by Gwyneth Jones (Brünnhilde) and Donald McIntyre (Wotan):    • Richard Wagner - Der Ring Des Nibelungen; ...   My second YT channel:    / @jonasquin-g15p   Subscribe to my facebook page:   / jonas-wolf-music-100197228863493   Follow me on instagram: https://www.instagram.com/jonaswolfmu...