resolves immediately into the E-flat major scale of Section A'. The Coda: Ultimate Tonal Collapse
The piece concludes with aggressive, fortissimo cadential chords firmly rooted in E-flat minor (i – V7 – i) . Key Takeaways for Analysis Technique Used Musical Effect A to B Transition Enharmonic pivot (E-flat →right arrow Sudden, shocking shift from light to dark Internal B Section Chromatic third modulations Creates a restless, wandering emotional state The Coda Transposition to parallel minor Subverts the happy ending, closing in tragedy
Better: He uses the (an A-flat minor chord? Let's check the score).
The B minor theme returns with added urgency, eventually thinning out to a single-note transition that prepares the return of the A section. The Return (A′) and the Tragic Coda schubert impromptu op 90 no 2 harmonic analysis
The recapitulation, which begins in m. 49, presents a restatement of the first theme in A-flat major. However, Schubert adds a few harmonic twists, including a brief detour to E-flat major (mm. 57-60):
The piece follows a large followed by an unexpected, dramatic Coda .
Our harmonic analysis would be incomplete without mentioning Schubert’s favorite structural device: the or appoggiatura . Almost every downbeat in Section A features a non-chord tone that resolves down by a half step (e.g., F against an E-flat chord, resolving to E-flat; or A-flat against a G minor chord, resolving to G). This creates a constant “sighing” or “yearning” quality. resolves immediately into the E-flat major scale of
minor) by the end of its first section, highlighting Schubert’s affinity for chromatic third-relationships. 4. Key Characteristics of Schubert’s Harmonic Language
(the enharmonic equivalent of C-flat minor). This provides a stark, "all'ongarese" (Hungarian style) contrast to the fluid A section. Structure: It consists of multiple four-bar phrases. Harmonic Path:
This pivot is the cornerstone of the piece’s harmonic architecture. The relationship between the original key of E-flat major (6 flats) and the new key of B minor (2 sharps) is a . By journeying through the "flat side" of the circle of fifths to achieve a key on the "sharp side," Schubert liberates harmony from diatonic function, creating a startling and dramatic shift in color and mood. Let's check the score)
, but Schubert quickly introduces harmonic ambiguity by slipping into the parallel E-flat minor Harmonic Language: The meanderings of the triplets are often grounded by secondary dominants that build toward climactic peaks.
Shifts to iv (Ab major) – another third relation (C minor to Ab major is a descending major third). This is Schubert’s “romantic” third progression.
The transition back to the main theme is managed through a chromatic, ascending line that resolves back into the
E-flat major. A literal repetition of the A section.