Perhaps the most famous aspect of this Impromptu’s harmonic analysis is the ending. Rather than concluding in the triumphant E-flat major, Schubert shifts the entire theme into .
The triplet scales return, but they are now shadowed by the flattened 3rd (G-flat), 6th (C-flat), and 7th (D-flat).
Schubert’s preference for moving keys by thirds (E-flat to G-flat or B/C-flat) rather than the traditional circle of fifths. schubert impromptu op 90 no 2 harmonic analysis
The piece follows a form with a substantial Coda. Section A: E-flat Major (perpetual motion triplet scales). Section B: B-minor (the dramatic "Trio" section). Section A': Return to E-flat Major. Coda: E-flat Minor (a tragic reversal of the opening). Section A: The Fluidity of E-flat Major
While the piece appears to be a light, bravura study in scales, a deep harmonic analysis reveals a sophisticated exploration of tonal relationships, particularly the tension between and its parallel minor, E-flat minor . Structural Overview Perhaps the most famous aspect of this Impromptu’s
The frequent interplay between major and minor modes.
On paper, E-flat major and B minor are distantly related. However, Schubert treats them as enharmonic neighbors. He uses G-flat (the 3rd of E-flat minor) as a pivot to F-sharp , which becomes the dominant (V) of B minor. Schubert’s preference for moving keys by thirds (E-flat
The "A" section is built on a non-stop stream of triplets. Harmonically, it is less about complex chords and more about .
Schubert begins with a simple I - V7 - I progression in E-flat major. However, he quickly introduces chromatic passing tones within the scales to blur the lines of the key.