A striking modal mixture occurs. Schubert dips into minor, using its flattened sixth degree ( ) to create emotional tension before snapping back to Sub-Section B within Section A (Bars 36–59)
This section is a literal, measure-for-measure recapitulation of Section A. The E-flat major triplets return, offering temporary relief after the stormy violence of the B section. However, because the listener has experienced the dark B minor episode, the reappearance of the E-flat minor modal mixtures (mm. 177–182) carries a much heavier psychological weight. The Coda: Structural Subversion (mm. 251–283)
) chords. The rapid triplet figurations often outline these harmonies.
A significant early transition occurs from E-flat major to its parallel minor (E-flat minor) , marked by a dynamic shift to pianissimo Harmonic Features: schubert impromptu op 90 no 2 harmonic analysis
minor), the minor dominant of the home key. The texture shifts from smooth, linear scales to accented, syncopated chords.
major. Schubert immediately establishes a light, flowing character. Harmonic Character:
Enharmonic shift; waltz-like rhythm; modulates to F-sharp minor. E-flat Major Return of initial theme. E-flat Minor Violent, minor-key ending. chord progressions or a performance guide for these sections? Impromptu in Eb major D 899/0p. 90 No 2 - Piano Syllabus A striking modal mixture occurs
The harmonic core of Section B relies on third-relations, bypassing traditional circle-of-fifths modulations. Set in B-flat minor ( Bars 103–142: Schubert modulates to D-flat major ( VII relative to Eb, or the relative major of Bb minor).
VI). These flat-submediant relationships soften the tonal center and create a floating, dreamlike quality. : The right-hand triplets outline a sharp
: The triplet scales return one last time, but they remain trapped in E-flat natural minor. The harmony races through a desperate cycle. However, because the listener has experienced the dark
Schubert transitions toward the dominant key area, B-flat major, but does so through highly irregular chromatic pathways rather than a standard circle-of-fifths progression.
The piece closes with a furious descent of E-flat natural minor triplets in the right hand, punctuated by heavy, uncompromising chords in the left hand:
Schubert uses sequential repetition to drive the harmony away from the tonic.
Schubert loves moving to the flat submediant (C Major/Minor from E-flat).
Moves to E-flat Minor , introducing a darker, more lyrical tone.