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#musictheory #generalbass #thoroughbass This is a basso continuo style harmonic analysis of the overture (Vorspiel) of Richard Wagner's opera “Lohengrin“ (1850). The analysis method 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. 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 assignments aren't put consistently for every passing tone. On the other hand, 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 “Lohengrin“. Recording is with Lucerne Festival Orchestra, Claudio Abbado: Subscribe to my facebook page: Follow me on instagram:
