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 exposition continues with a series of elegant, waltz-like passages, featuring chord progressions that expand on the tonic-dominant relationship. Schubert uses secondary dominants and appoggiaturas to add color and depth to the harmony. For example, in measure 13, a V7/IV chord (E-flat major 7th with a D-flat in the bass) leads to a beautiful IV chord, creating a sense of surprise and contrast.
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The music undergoes a violent, cascading descent. The harmony alternates rapidly between i (E-flat minor) and .
minor), but writes it in B minor for easier reading. This shift highlights his "anarchic" approach to traditional tonality. 3: I (Ab major) - root position (Ab - C - Eb) m
E-flat minor. Ends the piece in the parallel minor. Section-by-Section Harmonic Breakdown The A Section: E-flat Major Fluidity
Schubert often uses sequential patterns within the triplet passages to modulate and create forward momentum, balancing the static harmonic feel of the For example, in measure 13, a V7/IV chord
The recapitulation returns to the home key of A-flat major, with a restatement of the opening theme. However, Schubert adds a few harmonic twists to keep the listener engaged. For example, in measure 57, a V9 chord (E-flat major 9th) with a sharp 9th (F#) creates a subtle sense of dissonance, which is later resolved.
A stark, dramatic contrast with a "waltz-like" feel, characterized by heavy accents on the second beat and intense harmonic tension.
The Impromptu Op. 90, No. 2 is structured in a modified sonata form, adhering to an A-B-A-C-A' (or a rondo-like) structure, but with a more fluid and less sectionalized approach than traditional forms. It begins and ends in A-flat major, but Schubert takes the listener on a harmonic journey through various keys and modulations, creating a sense of contrast and cohesion simultaneously.
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