The right-hand scale triplets from Section A return, but they are trapped within the E-flat natural and harmonic minor scales. The bright, elegant character of the opening is entirely consumed by the tragic minor mode.
The B minor theme returns with added urgency, eventually thinning out to a single-note transition that prepares the return of the A section. The Return (A′) and the Tragic Coda
The piece opens directly on a tonic E-flat major chord in root position (
Schubert's use of tritone substitutions and altered chords adds layers of emotion and complexity to the music. These harmonic devices create a sense of uncertainty and questioning, especially in the piece's more introspective moments. schubert impromptu op 90 no 2 harmonic analysis
mm. 57-60: V/E-flat - I/E-flat - IV/E-flat - I/E-flat (E-flat dominant - E-flat major - A-flat major - E-flat major)
This progression creates a sense of harmonic uncertainty, which is later resolved in the development section. Schubert's use of the VII chord (G-flat major) adds a touch of drama and surprise, while the III chord (C-flat major) provides a moment of contrast and color.
: The final cadence is a violent descent in minor, a rarity for a piece that starts in a major key. Traversing Schubert's Opus 90 Impromptus The right-hand scale triplets from Section A return,
The harmonic plan of the Impromptu Op. 90 No. 2 is a masterpiece of Romantic tonal design. The overall key areas (E-flat major → B minor / C-flat minor → G major) are connected by , a relationship that creates a sense of distance and novelty.
, a rare move for a piece that began in the major key, symbolizing a journey toward "alienation" or "tragedy". of the modulations in the Trio section?
The opening subject is characterized by a "looping" and "grouping" of scale-based triplets. While it begins in a bright E-flat major, Schubert quickly introduces a darker undercurrent. The Return (A′) and the Tragic Coda The
The Impromptu is cast in a large with a substantial Coda . However, Schubert subverts the traditional expectations of this form through his choice of keys and the tragic trajectory of the ending. Primary Key Character / Material Section A mm. 1–82 E-flat Major Fluid, perpetual motion triplets; elegant and scalar. Section B mm. 83–168 B-minor (vi-flat) Highly rhythmic, syncopated, dramatic, and rustic. Section A′ mm. 169–250 E-flat Major Exact repetition of the opening material. Coda mm. 251–283 E-flat Minor Dark, aggressive transformation of Section B material. 2. Section A: Diatonic Elegance and Chromatic Inflections
The analysis is best broken down by its large-scale structure: