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 melody often uses secondary dominants for climactic sequences and "German sixth" chords (at bars 76 and 81) before closing the section. Section B / Trio (B Minor): The piece modulates abruptly to
By bar 13, the mood darkens instantly. Schubert introduces and C-flat , transforming the harmonic landscape into the parallel minor ( E-flat minor ). Bars 13–14: i (Eb minor) Bars 15–16: iv (Ab minor)
This section is a literal, measure-for-measure recapitulation of Section A. The E-flat major triplets return, offering temporary relief after the stormy violence of the B section. However, because the listener has experienced the dark B minor episode, the reappearance of the E-flat minor modal mixtures (mm. 177–182) carries a much heavier psychological weight. The Coda: Structural Subversion (mm. 251–283)
Requires a light touch, emphasizing the quick diatonic shifts.
minor, marking an unusual and dark end for a work that began so lightheartedly. 3. Key Harmonic Relationships Relation to Home Tonic (Home Key) A (middle) Parallel Minor B (Trio) Enharmonic Chromatic Mediant ( Coda Parallel Minor (End) ✅ Final Answer Schubert’s Impromptu Op. 90 No. 2 is a ternary form ( ABAcap A cap B cap A
| Bar Range | Key | Function | Analysis | |-----------|-----|----------|----------| | 70–72 | B major | Dominant preparation | B – E is V – I in E major | | 73–80 | E major | Tonic | Hymn-like chords: I – IV – V⁷ – I | | 81–88 | C-sharp minor | Relative minor of E major | vi – ii⁷ – V⁷/vi – vi | | 89–96 | A major | Subdominant of E | Secondary dominant: V⁷/IV (B⁷) to IV (A) | | 97–104 | F-sharp minor | Chromatic mediant of A | Deceptive motion via Ger⁺⁶ (F# – A# – C# – D#) | | 105–117 | E major | Tonic return with coda in E | Final cadence: IV – I⁶/₄ – V⁷ – I |
The section culminates in a brilliant ascending scale that leads to a forceful cadence in
major key, often appearing suddenly and bringing a sense of relief, yet with a lingering sense of melancholy. 4. Key Takeaways from the Analysis
For the performer, understanding this harmonic layout is crucial. The shifts between major and minor require subtle changes in tone color, voicing, and pedaling, ensuring that the harmonic architecture shines through the dense texture of the perpetual triplets.