The initial A section itself is internally ternary (A–B–A), with a middle portion (mm. 25–51) that ventures into the darker, parallel before returning to the original major key.
The distant mediant relationship between the A and B sections, bridged by the enharmonic pivot, is a quintessential Schubertian technique. This journey through enharmonically unrelated keys anticipates later Romantic and even Impressionist harmonic practices, where the focus shifts from functional progression to transformative shifts in color.
i→iv→V7→ii right arrow iv right arrow V sub 7 right arrow i schubert impromptu op 90 no 2 harmonic analysis
II, F-flat major) in bar 259 provides a final shock of harmonic distortion. It stretches the tonal tension to its absolute limit before collapsing into a driving cadential progression. The Final Cadence
A moto perpetuo (perpetual motion) piece featuring rapid right-hand triplets contrasted with a dramatic, minor-key middle section. 2. The A Section: E Major (Measures 1–90) The piece opens with a cascading triplet melody in E The initial A section itself is internally ternary
for the most challenging triplet passages.
Here, Schubert fully embraces the parallel minor. The Final Cadence A moto perpetuo (perpetual motion)
Moves to vi (C minor) via a common-tone modulation (Eb = third of Cm). Schubert obscures the harmony with chromatic inner voices.
A hallmark of Schubert’s style is "modal mixture." Early in the first section, he pivots briefly to G-flat major (the bIII). This creates a momentary "shimmer" before returning to the home key, signaling that the piece isn't as harmonically stable as it first seems. Section B: The B-Minor Shift (The Enharmonic Pivot)