Schubert Impromptu Op 90 No 2 Harmonic Analysis __top__ Review

This piece is a dazzling, perpetual-motion study with a deceptively simple right-hand melody over a relentless triplets accompaniment. The harmonic structure is a masterclass in Schubert’s signature techniques: rapid tonal shifts, third-related modulations, and the Neapolitan sixth.

Within B (bars 61–92):

• Simple I – V – I in E major, but with inner chromatic lines (C♮ and G♮ in melodic minor).
• Bars 93–105: Moves to A minor (iv of E major? No—it’s a new key).
• Bars 106–116: A minor → E major via Gr+6 in A minor (F – A – C – D♯).
  This is the same Gr+6 shape as before, transposed.

The Torrential Waltz: A Deep Harmonic Analysis of Schubert’s Impromptu Op. 90, No. 2

C. Equality of Major and Minor

Schubert does not treat minor keys as tension that needs to be resolved to a Major key. In this piece, E-flat Major and E-flat Minor are treated as equals. The Trio does not "resolve" into the A section; it merely contrasts with it. The Minor mode is viewed as a valid color, not just a functional dissonance. schubert impromptu op 90 no 2 harmonic analysis

1. Overview

• Key: E-flat major
• Meter: 3/4
• Form: Scherzo-like ternary (A–B–A–Coda), but with continuous triplet motion.
• Main harmonic features:
  • Fast harmonic rhythm in the A section.
  • Sudden shifts to remote keys (E major, C minor, A-flat minor).
  • Use of the Neapolitan and augmented sixth chords.
  • Ambiguity between major and minor modes.

Why E major?

• Enharmonic parallel of F-flat major, which is the Neapolitan of E-flat (bII).
• More importantly, E major is a chromatic mediant of E-flat major (a third away, same mode). This creates a sudden brightening: from 3 flats to 4 sharps.
• Schubert uses the same rhythmic profile (triplets in LH, now chords in RH) to unify the contrast.

Title: Harmonic Fluidity and Romantic Tonality in Schubert’s Impromptu Op. 90, No. 2