Schubert Impromptu Op 90 No 2 Harmonic Analysis ((free)) File

Suddenly, we are in C major . Why C major? In the context of B minor, C major is the flattened second degree (the Neapolitan chord). But Schubert doesn’t just use it as a single chord; he modulates to it, giving it a perfect authentic cadence (F to C). This is a classic Schubertian “thirds” relationship: B minor to C major is a half-step shift, which sounds jarring yet natural.

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 . schubert impromptu op 90 no 2 harmonic analysis

) that utilizes and enharmonic modulations (most notably the shift to Suddenly, we are in C major

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: But Schubert doesn’t just use it as a

, famously concluding with a coda that shifts the entire work’s tonal trajectory toward a tragic end האוניברסיטה העברית בירושלים 1. Section A: E-flat Major (mm. 1–82)