B. Weakening of tonic and move to V (mm. 9–16)
As the musicologist Richard Taruskin observes, the three central keys of the piece fit into an : E♭ – C♭/B – G – E♭ . The G‑major chord that appears in measure 100 of the B section stands in the same relation to B minor as B minor stands to E♭ major. In effect, Schubert gives the flat submediant a flat submediant of its own, creating a chain of third relations that forms a closed loop.
E-flat major. Light, scalar, and perpetual triplet motion.
The Impromptu is structured in a ternary (A–B–A) form with a substantial Coda. However, Schubert subverts traditional Classical expectations by ending the piece not in the bright tonic home key of E-flat major, but in its parallel minor, E-flat minor. schubert impromptu op 90 no 2 harmonic analysis
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A connects two keys whose tonics are a third apart (major third or minor third). Schubert had a lifelong love of third‑related keys. Here the relation between the outer sections (E♭ major) and the middle section (B minor) is a descending minor third : E♭ down to C♭ (enharmonically B).
of the home key), illustrating Schubert’s fondness for flat-mediant relationships. A strong arrival on the dominant chord ( The G‑major chord that appears in measure 100
In a typical Classical piece, a coda solidifies the home major key. Schubert entirely subverts this paradigm by casting the Coda in .
The dramatic changes in volume and texture underscore the harmonic tensions, particularly when shifting from the delicate A-section to the forte B-section. Summary of Musical Analysis
Schubert's use of the V7 chord creates a sense of tension, which is later released as the music returns to A-flat major. The development section features a series of fragmented themes and motives, which are passed between the hands and subjected to various harmonic transformations. Light, scalar, and perpetual triplet motion
The music passingly touches upon G-flat major (
Franz Schubert’s Impromptu in E-flat major, Op. 90, No. 2 (D. 899) is a staple of Romantic piano literature. Written in 1827, it pairs perpetual motion with harmonic innovation. While it begins as an elegant, sweeping Etude-like work, its tonal architecture reveals a deeply dramatic narrative.
: instead of resolving to C♭ major, the chord resolves to C♭ minor , which is then enharmonically respelled as B minor (since C♭ minor would require seven flats, an impractical notation). The result is the thunderous B‑minor middle section.