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Introduction
Franz Schubert's Impromptu Op. 90, No. 2 in A-flat major is a solo piano piece that showcases the composer's mastery of harmony and melodic writing. The piece is characterized by a singing melody, nuanced dynamic shifts, and a range of emotions. This harmonic analysis will explore the piece's chord progressions, tonal harmony, and departures from traditional tonality.
Structure
The Impromptu Op. 90, No. 2 is structured in a modified A-B-A form. The A sections are in the tonic key of A-flat major, while the B section modulates to a series of related keys.
Section A (mm. 1-24)
The piece begins in A-flat major, with a gentle, lilting melody in the right hand accompanied by a steady, pulsing rhythm in the left hand. The chord progression is largely diatonic, with a I-V6/4-I progression in the first four measures:
m. 1: I (Ab major) - 3rd inversion (Ab - C - Eb) m. 2: V6/4 (Eb major) - 2nd inversion (Eb - G - Bb) m. 3: I (Ab major) - root position (Ab - C - Eb) m. 4: I (Ab major) - 1st inversion (C - Eb - Ab)
The A section continues with a series of connected phrases, each with its own unique harmonic interest. Notable moments include:
Section B (mm. 25-44)
The B section begins with a new theme in the key of E-flat major (V of Ab major). The harmony becomes more complex, with a series of secondary dominants and borrowed chords:
m. 25: V (Eb major) - root position (Eb - G - Bb) m. 27: vii°7/5 (Db7) - 3rd inversion (Db - F - Ab - Bb) m. 29: vi (Gb major) - root position (Gb - Bb - Db)
The B section modulates through a series of related keys, including:
Section A' (mm. 45-56)
The final A section returns to the tonic key of A-flat major, with a recapitulation of the opening theme. The harmony is largely similar to the first A section, with a few notable differences:
Harmonic Departures
Throughout the piece, Schubert employs a range of harmonic techniques to add color and interest:
Conclusion
Schubert's Impromptu Op. 90, No. 2 is a masterpiece of Romantic piano music, with a rich harmonic landscape that showcases the composer's innovative approach to tonal harmony. Through a combination of diatonic and chromatic harmony, Schubert creates a sense of drama and contrast, while maintaining a strong sense of tonal coherence. This harmonic analysis has highlighted the piece's intricate chord progressions, departures from traditional tonality, and expressive use of harmony to convey emotion and mood.
Schubert's Impromptu Op. 90 No. 2 in E-flat Major (D. 899) is a masterclass in how early Romantic composers used harmonic tension and structural contrast to create a narrative of psychological transition. Composed in 1827—the same year as the searing song cycle Winterreise—the piece masks its emotional weight behind a facade of sparkling, moto perpetuo triplets. 1. Structural Overview
The piece follows a clear ternary (A–B–A) form with a substantial coda. Section A (mm. 1–82): E-flat Major / E-flat Minor
Section B / Trio (mm. 83–158): B Minor (enharmonic to C-flat minor)
Section A' (mm. 159–250): Return to E-flat Major / E-flat Minor Coda (mm. 251–283): E-flat Minor 2. Harmonic Analysis of Section A
The opening subject is characterized by a "looping" and "grouping" of scale-based triplets. While it begins in a bright E-flat major, Schubert quickly introduces a darker undercurrent.
Initial Phrases: The harmony establishes the tonic (I) in m. 1 and modulates to the dominant (V) by m. 3.
Modal Shift: A signature Schubertian move occurs at m. 25, where the key shifts to the parallel E-flat minor. This transition is often marked by a drop to pianissimo, signaling a shift from a playful dance to a more anxious, interior state.
Transition to B: The section concludes with oscillating figures that act as a harmonic bridge, preparing for the dramatic arrival of the Trio. 3. The Trio: A Radical Modulation
The Trio (Section B) is one of the most famous examples of Schubert’s bold harmonic language. It shifts to B Minor.
Relationship to the Tonic: From an E-flat major perspective, B minor is a distant, "non-diatonic" key. However, if we view the previous section as E-flat minor, B is the submediant (bVI).
Enharmonic Pivot: Schubert prepares this by implying C-flat major (the flattened 6th of E-flat) and then enharmonically transforming it into B minor to create a "bohemian" or "Hungarian" waltz feel.
The "Wanderer" Influence: The Trio features stamping, off-beat accented triplets and widely-spaced bare octaves, reminiscent of the "Wanderer" Fantasy. 4. The Tragic Conclusion: The Coda
Standard Classical form dictates that a piece in a major key should end in major. Schubert subverts this, reflecting the "alienation and tension" found in his late works.
Return of E-flat Minor: After the repetition of Section A, the Coda (m. 251) returns to the dark material of the Trio, now firmly rooted in E-flat minor.
The Final Cadence: The piece ends with a forceful descent and two chords in E-flat minor. This "tragic" ending symbolizes the traveler's inability to find home, a recurring theme in Schubert's final year. schubert impromptu op 90 no 2 harmonic analysis
For further study, you can access the full Schubert Impromptu Op 90 No 2 Sheet Music at MuseScore or explore Henrik Kilhamn's analysis on YouTube. 90 No. 4 impromptu?
Franz Schubert's Impromptu Op. 90 No. 2 in E-flat Major is a masterclass in early Romantic formal and harmonic tension, famously starting in a bright major key and ending in a tragic minor key. 1. Formal Structure
The piece follows a clear ternary form (A–B–A’) with an extensive coda.
A Section (mm. 1–82): Characterized by swirling, etude-like triplets in the right hand.
B Section / Trio (mm. 83–168): A "bohemian waltz" in B minor (the enharmonic flat-sixth of the original key, or
A’ Section (mm. 169–250): A return of the E-flat Major triplets.
Coda (mm. 251–end): A high-energy accelerando that shifts the tonality permanently to E-flat Minor. 2. Harmonic Highlights Traversing Schubert's Opus 90 Impromptus
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
(D. 899) is a staple of the Romantic piano repertoire, renowned for its "moto perpetuo" triplet scales and dramatic tonal shifts. While it begins with a light, shimmering character, a harmonic analysis reveals a darker undercurrent that eventually consumes the piece, leading to a tragic conclusion in the parallel minor key. Structural Overview The piece follows a compound ternary (A–B–A) form with a distinct Section A (E-flat Major): Characterized by rapid, scale-based triplet passages. Section B (B Minor/Trio):
A starkly contrasting "bohemian waltz" marked by heavy accents and wide-spaced octaves. Section A' (Return to E-flat Major): A restatement of the opening material. Coda (E-flat Minor):
A final, accelerating section that shifts permanently into the minor mode. Harmonic Progression and Key Relationships The Ambiguity of Section A Although ostensibly in E-flat Major , Section A frequently veers into the parallel minor ( E-flat Minor
). The harmonic rhythm is relatively slow, often tethered by a repetitive bass line that grounds the swirling right-hand triplets. A key transitional moment occurs as the music moves through a sequence of secondary dominants to reach a climax, followed by a shift to pianissimo in E-flat minor. The Remote Trio (Section B)
The Trio section is notable for its distant harmonic relationship, modulating from E-flat to
(the enharmonic equivalent of C-flat minor). This section consists of five four-bar phrases that establish B minor before modulating to F-sharp minor Key Modulations: The transition to F-sharp minor is achieved through a chord of V (G# diminished 7th). Counterpoint:
Schubert employs passing tones and neighbor tones (e.g., F#–G–F#) within the inner voices to add melodic interest to the block chords. The Coda: Final Resolution to Minor
This is a detailed harmonic analysis of Franz Schubert’s Impromptu in E-flat major, Op. 90, No. 2 (D. 899). This piece is a favorite for examining Schubert’s early Romantic harmonic language—particularly his use of mediant relationships, chromatic voice-leading, and sudden tonal shifts within a largely ternary (ABA) structure. Introduction Franz Schubert's Impromptu Op
Below is a structured, paper-ready analysis focusing on harmony, form, and function.
The A section is not static; it moves from tonic through a chain of descending thirds.
Bar 1: Opens with a clear I (Eb major) arpeggiated in the right hand over a dominant pedal (Bb in left hand – V chord root).
Bars 2–4: Moves to vi (C minor) via a common-tone modulation (Eb = third of Cm). Schubert obscures the harmony with chromatic inner voices.
Bars 5–7: 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.
Bars 8–10: Arrives at ii (F minor) – a standard diatonic chord, but approached by the unusual Ab major, creating a smooth chromatic descent: Eb – Cm – Ab – Fm.
Bars 11–16: V (Bb major) dominant preparation, but harmonized with chromatic passing chords (e.g., German augmented 6th in bar 14: Ab-C-Eb-F# resolving to Bb). This Ger+6 is a hallmark of Schubert’s rich harmony.
Bars 17–32: Repeat of the above harmonic pattern (I – vi – iv – ii – V – I).
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.
Bars 49–64: Final cadence in Eb major. Notice the brief touch of bII (Fb major = E major? No – it’s a Neapolitan in Eb?) Wait – careful: At bar 55, there is a sudden F-flat major chord (spelled Fb-Ab-Cb). This is the Neapolitan of Eb (N = Fb major). But since Fb is enharmonic to E, it sounds like an E major chord crashing in – an abrupt, shocking color. It resolves deceptively through Cb (enharmonic to B) to Bb7 (V7) and back to I.
Summary of A Section Key Centers: Eb → Cm → Ab → Fm → (Eb) → G → Eb.
Schubert now has to climb out of the minor tonality.
This piece is a study in harmonic deception. While written in E-flat major, it immediately subverts the tonic and uses a relentless triplet motor to create a sense of flowing, anxious energy rather than stable repose.
Before diving into specifics, it is crucial to understand Schubert’s harmonic philosophy in this piece.
| 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 |
| Feature | Example in the Piece | Effect | |---------|----------------------|--------| | Third-related modulations | Eb → Cm → Ab → Fm | Smooth but unexpected key changes | | Enharmonic respelling | Eb major to B minor (Eb = D#) | Sudden, dramatic contrast | | Neapolitan sixth chord | Fb major (spelled Fb-Ab-Cb) in bars 55 & 185 | Chromatic color, expressive tension | | Augmented sixth chords | German (bar 14) and French (bar 105) | Intense dominant preparation | | Chromatic mediants | Eb to G major (bar 33) | Romantic, lush sound | | Abrupt juxtaposition | End of B section (F# major) to A’ section (Eb major) | Disorienting, magical return | Section B (mm
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