Schubert Impromptu Op 90 No 2 Harmonic Analysis

The piece begins innocently enough in E-flat major. The left hand establishes a simple I-V-I pattern (E-flat major – B-flat major – E-flat major). The right hand’s theme (a rising arpeggio from G to C) is pure diatonic comfort.

Bar 9 – The First Wrinkle: Just as we settle, Schubert introduces a German Augmented 6th chord (often spelled Fr+6 in German theory, but functionally an Augmented 6th resolving to V). In bar 9, beat 3, we get an A-flat, C, E-flat, F-sharp. This chord yearns desperately for the dominant (B-flat). It resolves beautifully in bar 10, but the damage is done: we now know this piece will not be harmonically static.

The Transition (Bars 15-20): Schubert modulates from E-flat major to its dominant, B-flat major, via a standard pivot chord (E-flat acting as IV in B-flat). This is classical procedure. But the second theme (bar 21) is where things get strange. schubert impromptu op 90 no 2 harmonic analysis

The False Major (Bar 21): The new theme arrives in B-flat major – except it isn’t happy. The melody uses the flattened 7th (A-flat), hinting at the mixolydian mode. Harmonically, Schubert immediately tonicizes G minor (the relative minor of B-flat) via a G minor harmony in bar 23. We are drifting.

The Chromatic Descent (Bars 36-44): This is the most astonishing moment in Section A. The right hand plays a descending chromatic scale, but Schubert harmonizes it with a chain of diminished seventh chords. He cycles through: The piece begins innocently enough in E-flat major

This is pure harmonic color for its own sake. The listener feels unmoored. Finally, a F minor 7 chord (bar 42) pivots us back to the dominant of E-flat (B-flat major) for the return of the opening idea. The effect is like waking from a dream within a dream.

Here, Schubert fully embraces the parallel minor. This is pure harmonic color for its own sake

Though this is a small form (ABA), Schubert outlines three distinct tonal areas in the A section alone: