Harmonically identical to the A section, but with one major difference:
| 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 |
| Bars | Key(s) | Harmonic Device | |-------|----------------------|--------------------------------------------| | 1–4 | E♭ major | I – V7/IV – IV – vii°7/V – V | | 17–20 | E major | Chromatic mediant shift (E♭ → E) | | 27–30 | F minor → E♭ major | Borrowed iv (F minor) resolving deceptively| | 45–52 | C minor → A♭ major | Gr+6 in C minor → deceptive to A♭ (VI) | | 61–92 | E major | Simple harmony, but abrupt tonal center | | 106–112| A minor → E major | Gr+6 in A minor | | 151–155| E♭ major → C♭ major | Flat submediant shift, enharmonic wonder |
Key: E major (enharmonic of F-flat major) schubert impromptu op 90 no 2 harmonic analysis
This is the most famous harmonic surprise in the piece. Without any pivot chord, Schubert moves directly from the last E-flat major chord of the A section to a B major chord (bar 70), then settles into E major by bar 73.
If you are writing a paper or studying the score, focus on these three "Schubertian" techniques:
The A’ section repeats the A section’s harmony almost literally until the coda. Harmonically identical to the A section, but with
The new tempo marking is Più lento (slower), and the texture becomes chordal, almost chorale-like. The key is B minor, but Schubert treats it not as a stable center, but as a pivot point for even wilder excursions.
Bar 63 – F-sharp Major: The first phrase ends in the dominant, F-sharp major. Simple enough.
Bar 67 – The Neapolitan Shock: Suddenly, we are in C major. Why C major? In the context of B minor, C major is the flattened second degree (the Neapolitan chord). But Schubert doesn’t just use it as a single chord; he modulates to it, giving it a perfect authentic cadence (F to C). This is a classic Schubertian “thirds” relationship: B minor to C major is a half-step shift, which sounds jarring yet natural. | Bar Range | Key | Function |
Bars 71-78 – The Chromatic Mediant Waltz: This is the harmonic core of the B section. Schubert moves through a series of major and minor triads connected by common tones and half-step voice leading:
This harmonic rhythm—changing chords every bar, but keeping the pulsing eighth notes—creates a stunning kaleidoscope. The listener feels like they are spinning through different colored rooms.
Bars 92-102 – The Fatal Diminished Chord: The climax of the B section is a long, tortured passage over a G-sharp diminished seventh chord. G-sharp is the leading tone of A minor, but Schubert refuses to resolve it properly. Instead, he cycles through inversions of this same diminished chord for ten full bars, creating maximum instability. It is the harmonic equivalent of standing on a cliff edge.
The Retransition (Bars 103-114): How do we get back to E-flat major from B minor? Schuber uses an enharmonic pivot of breathtaking ingenuity. The G-sharp diminished seventh (again!) can be respelled as a C-flat diminished seventh. And C-flat is the leading tone to D-flat major, which is the Neapolitan of C, which leads to F... No, simpler: He resolves the diminished chord directly to a C-flat major chord (bar 111), which then becomes the Neapolitan of B-flat (the dominant of E-flat). After a final, shuddering B-flat 7 chord (bars 113-114), we crash-land back into the opening theme.
Key: E-flat major