Schubert Impromptu Op 90 No 2 Harmonic Analysis

Harmonic Analysis of Schubert’s Impromptu in E-flat Major, Op. 90, No. 2 Franz Schubert’s Impromptu in E-flat Major, Op. 90, No. 2

Harmonically, the shift from a bright major opening to a "violent" minor ending is often interpreted as a representation of Schubert's own emotional state in 1827—a "lonely traveller" (fremdling) whose pleasant recollections are eventually overtaken by anguish and reality. Traversing Schubert's Opus 90 Impromptus schubert impromptu op 90 no 2 harmonic analysis

Schubert’s harmonic language in this Impromptu is proto-Romantic: Harmonic Analysis of Schubert’s Impromptu in E-flat Major,

• B minor (bar 71)
• D major (bar 72 – the relative major)
• B-flat major (bar 73 – chromatic mediant of D major, flat VI of D)
• G major (bar 74 – dominant of C? No, just a bright shift)
• E-flat major (bar 75 – the home key, appearing like a ghost!)

Rounded Binary Form (A-B-A’)

Before diving into specific chords, we must understand the layout. The piece is structured as a , though it also carries the DNA of a miniature sonata form without a development section. B minor (bar 71) D major (bar 72

minor), but writes it in B minor for easier reading. This shift highlights his "anarchic" approach to traditional tonality.

Return:

Bars 33–48:

The melody rises, and harmony moves to III (G major) – another third relation (from Eb). This is a false dawn. Schubert then slips through G minor (bar 39) and back to V (Bb) by bar 48.

| 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) |