Schubert Impromptu Op 90 No 2 Harmonic Analysis ★ Verified Source

At bar 83, the time signature effectively feels rewritten by violent, syncopated accents in the left hand. The key shifts firmly to (the minor dominant, Chromatic Third Relations (Mediant Modulation)

E-flat Major (with frequent excursions into E-flat minor).

Suddenly, we are in C major . Why C major? In the context of B minor, C major is the flattened second degree (the Neapolitan chord). But Schubert doesn’t just use it as a single chord; he modulates to it, giving it a perfect authentic cadence (F to C). This is a classic Schubertian “thirds” relationship: B minor to C major is a half-step shift, which sounds jarring yet natural.

: The triplet scales return one last time, but they remain trapped in E-flat natural minor. The harmony races through a desperate cycle. schubert impromptu op 90 no 2 harmonic analysis

Summary at a glance

| Bar Range | Key Area | Harmonic Function | Notable Feature | |-----------|----------|------------------|------------------| | 1–4 | E-flat major | Tonic prolongation (I) | Arpeggiated I – V⁷ – I | | 5–12 | B-flat minor | Modulation via C°⁷ (vii°⁷ of B-flat minor) | Uses melodic minor #6 (G-natural) and #7 (A-natural) to pivot | | 13–20 | A-flat major | Submediant of E-flat, relative major of F minor | Surprise German Augmented 6th (Ger⁺⁶) in bar 18: A-flat – C – E-flat – F# | | 21–28 | F minor | Chromatic mediant of A-flat | Descends via diminished 7ths (D°⁷, G°⁷) | | 29–36 | D-flat major | Flat submediant (bVI of F minor) | Resolves deceptively back to E-flat via a common-tone diminished 7th (C°⁷) | | 37–44 | E-flat major | Neapolitan relationship? No – direct return | Sudden Picardy effect but quickly destabilized | | 45–52 | B major (C-flat major) | Enharmonic shift: E-flat → B is a tritone | Uses F-flat to pivot to E-flat again | | 53–69 | E-flat major | Extended dominant preparation (V⁷) | False arrival at bar 61 (C-flat major chord) |

The triplets now have a strong accent on the second beat, creating a "waltz" or "minuet" feel that is more angular and intense than the flowing A section. At bar 83, the time signature effectively feels

A return of the E-flat Major triplets.

The piece follows a with an extensive coda:

Franz Schubert's Impromptu Op. 90, No. 2 in A-flat major is a solo piano piece that showcases the composer's mastery of harmony and lyricism. Written in 1827, this impromptu is part of a set of four pieces that are characterized by their spontaneity and poetic expressiveness. In this harmonic analysis, we will explore the piece's structure, chord progressions, and harmonic techniques. Why C major

The piece is written in a compound ternary form with a substantial coda: : E-flat Major (with extensive modal borrowing)

To help tailor further analysis of this piece, tell me: Are you analyzing this piece for a or an academic music theory assignment ? Alternatively, I can provide a measure-by-measure chord breakdown of a specific transitional passage if you have one in mind. Share public link

A significant moment occurs with a dramatic