Schubert Impromptu Op 90 No 2 Harmonic Analysis -

Before diving into specific chords, we must understand the layout. The piece is structured as a Rounded Binary Form (A-B-A’) , though it also carries the DNA of a miniature sonata form without a development section.

The harmonic genius lies not in the return to the tonic, but in the way Schubert leaves it and the path he takes to return. schubert impromptu op 90 no 2 harmonic 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 | Before diving into specific chords, we must understand

Schubert loves moving to the flat submediant (C Major/Minor from E-flat). The harmonic genius lies not in the return

| Feature | Example in the Piece | Effect | |---------|----------------------|--------| | Third-related modulations | Eb → Cm → Ab → Fm | Smooth but unexpected key changes | | Enharmonic respelling | Eb major to B minor (Eb = D#) | Sudden, dramatic contrast | | Neapolitan sixth chord | Fb major (spelled Fb-Ab-Cb) in bars 55 & 185 | Chromatic color, expressive tension | | Augmented sixth chords | German (bar 14) and French (bar 105) | Intense dominant preparation | | Chromatic mediants | Eb to G major (bar 33) | Romantic, lush sound | | Abrupt juxtaposition | End of B section (F# major) to A’ section (Eb major) | Disorienting, magical return |