Schubert’s harmonic language in Op. 90, No. 2 is not about functional prolongation but tonal surprise. The A section repeatedly destabilizes E♭ major through:
The B section’s shift to E major is radical—not a traditional relative or parallel key, but a half-step displacement of the tonic, prefiguring late Romantic and Impressionist harmonic practices.
The piece begins innocently enough in E-flat major. The left hand establishes a simple I-V-I pattern (E-flat major – B-flat major – E-flat major). The right hand’s theme (a rising arpeggio from G to C) is pure diatonic comfort.
Bar 9 – The First Wrinkle: Just as we settle, Schubert introduces a German Augmented 6th chord (often spelled Fr+6 in German theory, but functionally an Augmented 6th resolving to V). In bar 9, beat 3, we get an A-flat, C, E-flat, F-sharp. This chord yearns desperately for the dominant (B-flat). It resolves beautifully in bar 10, but the damage is done: we now know this piece will not be harmonically static.
The Transition (Bars 15-20): Schubert modulates from E-flat major to its dominant, B-flat major, via a standard pivot chord (E-flat acting as IV in B-flat). This is classical procedure. But the second theme (bar 21) is where things get strange.
The False Major (Bar 21): The new theme arrives in B-flat major – except it isn’t happy. The melody uses the flattened 7th (A-flat), hinting at the mixolydian mode. Harmonically, Schubert immediately tonicizes G minor (the relative minor of B-flat) via a G minor harmony in bar 23. We are drifting.
The Chromatic Descent (Bars 36-44): This is the most astonishing moment in Section A. The right hand plays a descending chromatic scale, but Schubert harmonizes it with a chain of diminished seventh chords. He cycles through:
This is pure harmonic color for its own sake. The listener feels unmoored. Finally, a F minor 7 chord (bar 42) pivots us back to the dominant of E-flat (B-flat major) for the return of the opening idea. The effect is like waking from a dream within a dream.
If you are writing a paper or studying the score, focus on these three "Schubertian" techniques: schubert impromptu op 90 no 2 harmonic analysis
The opening melody is famous for its harmonic ambiguity. While the key signature is E-flat Major (3 flats), the music vacillates constantly between major and minor.
Franz Schubert’s Impromptu in E-flat major, Op. 90 No. 2 (D. 899/2) is a compact masterpiece: lyrical, formally tidy, and full of nuanced harmonic motion that supports its songlike melody. This post offers a focused harmonic analysis you can use for program notes, a recital talk, or a blog post for musically literate readers. It avoids dense theory jargon where possible and emphasizes how harmonic choices shape phrase, color, and emotion.
Summary at a glance
A. Opening measures (mm. 1–8)
B. Weakening of tonic and move to V (mm. 9–16)
C. Bridge and tonal shift (mm. 17–22)
D. Middle section (mm. 23–44)
E. Reprise and codetta (mm. 45–end)
Suggested listening/practice focus
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Schubert's Impromptu Op. 90 No. 2 in E-flat Major is a masterclass in contrasting musical characters, moving from a light, "moto perpetuo" (constant motion) opening to a dark, tumultuous minor-key conclusion. This harmonic shift is particularly famous because it subverts the era's expectation that a piece starting in a major key should end happily. 1. Formal Structure: Compound Ternary Form
The piece follows a standard A–B–A'–Coda structure, but with unique internal variations:
Section A (E-flat Major): Characterized by rapid, descending scale triplets and arpeggios that feel fluid and etude-like.
Section B / "Trio" (B Minor): A stark contrast in 3/4 time, featuring "bohemian" rhythms with widely spaced octaves and heavy, off-beat accents.
A' Section: A return to the shimmering E-flat major triplets.
Coda (E-flat Minor): Instead of resolving to the home key of E-flat major, the piece ends forcefully in the minor parallel, reflecting what scholars often call a "tragic" arc. 2. Key Harmonic Highlights Schubert’s harmonic language in Op
The Tonal Leap to B Minor: The transition to the B section is a daring harmonic move. Schubert prepares the listener for C-flat major (the flat submediant) but instead pivots enharmonically to B minor for the Trio.
Internal Modulations in Section A: While Section A is primarily in E-flat major, its middle subsection shifts into E-flat minor, providing a "darker" lyrical contrast before the main theme returns.
Unstable Progressions: The harmonic rhythm is often tethered by a repetitive, insistent bass line, yet the swirling right-hand scales frequently lead the ear through "extraordinary harmonic predicaments" that delay resolution.
B - C# - D Motion: A notable harmonic motif in the B section involves a rising third move ( B→C#→Dcap B right arrow cap C # right arrow cap D ), which drives the tension in the melodic theme. 3. Detailed Harmonic Breakdown by Section Section Key Features A Section E-flat Major Rapid scale-based triplets; - - foundational harmony with chromatic passing tones. A Transition Modulatory
Oscillating figures act as a bridge, shifting from E-flat to the preparation for the Trio. B (Trio)
Declamatory/lyrical style; heavy use of diminished sevenths (e.g., , ) and dominant chords to create tension. Coda E-flat Minor
A variant of the B section material that reasserts the minor mode for an emphatic, "angry" finish. 4. Interpretive Note: "The Lonely Traveller"
Harmonically, the shift from a bright major opening to a "violent" minor ending is often interpreted as a representation of Schubert's own emotional state in 1827—a "lonely traveller" (fremdling) whose pleasant recollections are eventually overtaken by anguish and reality. Traversing Schubert's Opus 90 Impromptus The B section’s shift to E major is