The final chord is a stark, powerful played fortissimo . Harmonic Legacy and Interpretation
The outer A section itself subtly introduces the flat submediant early on: a ghostly G♭ (the flat submediant of E♭) is trilled in the low register after the first phrase, immediately dropping back to the dominant. This tiny “infection” prepares the listener for the much larger intrusion to come.
Opens with a clear I (Eb major) arpeggiated in the right hand over a dominant pedal (Bb in left hand – V chord root).
The mood shifts dramatically at measure 91. The light triplets vanish, replaced by heavy, dramatic chords and a thunderous left-hand accompaniment. Harmonic Character: The section opens in B minor , the parallel minor of the dominant key ( schubert impromptu op 90 no 2 harmonic analysis
C. Bridge and tonal shift (mm. 17–22)
The section concludes with a long, driving pedal point on the dominant (F) of the original key, preparing the listener for the return of the E major theme. 4. The Return: A′ Section (Measures 179–262)
E. Reprise and codetta (mm. 45–end)
[Section A: E-flat Major] ---> [Section B: B-flat Minor] (Minor Dominant relationship) The Main Theme of B (Bars 83–102) A sudden forte minor chord breaks the tranquility. Bars 84–90: The progression oscillates intensely between V7cap V to the seventh power
Franz Schubert’s Impromptu in E-flat major, Op. 90, No. 2 (D. 899) is a masterpiece of the late Classical and early Romantic piano repertoire. While it initially presents itself as a light, fluid perpetual motion ( perpetuum mobile ) exercise, a closer harmonic analysis reveals a dramatic, deeply emotional narrative. Schubert masterfully utilizes modal mixture, enharmonic pivots, and rapid tonal shifts to create tension and contrast. Form and Tonal Overview
Features a classical 4+4 phrase structure. The right hand performs rapid scalar passages over a relatively simple, repetitive bass line that provides a firm harmonic anchor. Key Transitions: Early in this section, there is a poignant transition from E-flat Major to the parallel E-flat minor , marked by a shift to pianissimo Chromaticism: The final chord is a stark, powerful played fortissimo
The piece ends with a forceful E-flat minor cadence. This harmonic choice transforms the "impromptu" from a lighthearted exercise into a serious, almost desperate work of art. Key Takeaways for Analysis
| Bar Range | Key | Function | Analysis | |-----------|-----|----------|----------| | 70–72 | B major | Dominant preparation | B – E is V – I in E major | | 73–80 | E major | Tonic | Hymn-like chords: I – IV – V⁷ – I | | 81–88 | C-sharp minor | Relative minor of E major | vi – ii⁷ – V⁷/vi – vi | | 89–96 | A major | Subdominant of E | Secondary dominant: V⁷/IV (B⁷) to IV (A) | | 97–104 | F-sharp minor | Chromatic mediant of A | Deceptive motion via Ger⁺⁶ (F# – A# – C# – D#) | | 105–117 | E major | Tonic return with coda in E | Final cadence: IV – I⁶/₄ – V⁷ – I |
Schubert establishes a clear I – V7 – I progression in E-flat major. Opens with a clear I (Eb major) arpeggiated