In "Parsifal" the music depicts little of external things. In "Tannhaüser" there are fancies which Wagner wished to float thru the minds of the audience and the Pilgrim's Chant swells and disappears. In "Tristan and Isolde" the prelude represents the spiritual progress of the tragedy. The suffering of the wounded Tristan is shown by a theme of descending half steps and a closing cadence of short phrases which stand for the love glance is a downward leap of the seventh. The symbol of death is expressed with a sudden and unprepared change from A flat to A. The music consists of a few phrases which unfold themselves over and over again in a variety of combinations with continually changing instrumental color. "Die Meistersinger" prelude delineates the characteristic traits of the personages, and the symphonic introduction indicates the elements of the plot, the progress in its developement and the outcome. The two classes of melodies are broadly distinguished in external physiognomy and emotional essence, at first consecutively, then in conflict and finally in harmonious and contented union. The solid old burghers of Nuremburg, a little vain, are pictured by strong simple tunes with sequences of the intervals of the simple diatonic scale, strongly and simply harmonized, a trifle pompous in opposition to the passion of the lovers displayed. These themes differ in every respect, melodic, rythmic, and harmonic, and also in their treatment. The lover's theme is chromatic, the rythme are less regular and more eager by syncopation. This is harmonized with greater warmth and set for the instruments with greater passion.