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)
Schubert modulates to the relative major, D major (
E-flat minor. A tragic transformation of the Section B material. 2. Section A: The E-flat Major Perpetual Motion The opening theme relies on a fluid, triplet-driven
To make it readable for the pianist, he uses , notationally writing this section in E major instead of F-flat major. Section A': The Return (Bars 169–250)
This section consists of five four-bar phrases. It opens on a tonic B minor chord (i) schubert impromptu op 90 no 2 harmonic analysis
D. Middle section (mm. 23–44)
If Section A was a walk through a pleasant park with sudden gusts of wind, Section B is a plunge into a frozen lake. Schubert does something radical: he abandons E-flat major entirely for key that is harmonically distant: .
A final, brief bravura statement, revisiting the trio's intensity before closing in 2. Harmonic Analysis of the A Section (E-flat Major)
| 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 section concludes with a long, driving pedal
major), a common technique in Schubert's work to create a sense of longing and a "softer" ending.
A shift to E-flat major introduces a more lyrical and narrative theme, showcasing Schubert's gift for melody. This section modulates through various keys, but E-flat major serves as a harmonic anchor.
Careful use of pedaling and articulation can enhance the harmonic colors and textures, bringing out the piece's rich inner life.
), introducing early melancholy into an otherwise joyful theme. Modulation and the Secondary Theme (mm. 26–51) A tragic transformation of the Section B material
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The initial A section itself is internally ternary (A–B–A), with a middle portion (mm. 25–51) that ventures into the darker, parallel before returning to the original major key.
The right-hand triplets from Section A return, but they are now permanently trapped in the minor mode. They cascade down the keyboard, outlining E-flat minor scales and diminished seventh chords.
major theme. This restatement is not mere repetition; it is a restatement with a triumphant character, now in the tonic key rather than the dramatic B 5. The Coda: The Final Surprise (Measures 263–End)
Throughout the piece, Schubert employs a range of harmonic techniques to add color and interest: