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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.
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. schubert impromptu op 90 no 2 harmonic analysis
For the performer, understanding this harmonic architecture is essential. The B section should not sound like a confused detour, but like a necessary descent into melancholy. The return to E-flat major should not feel like a simple repetition, but like a hard-won, fragile resolution. And the final ambiguous chords should leave the listener suspended between joy and sorrow—the very essence of Schubert’s musical voice. Schubert modulates from E-flat major to its dominant,
How do we get back to E-flat major from B minor? Schuber uses an enharmonic pivot of breathtaking ingenuity. The G-sharp diminished seventh (again!) can be respelled as a C-flat diminished seventh . And C-flat is the leading tone to D-flat major, which is the Neapolitan of C, which leads to F... No, simpler: He resolves the diminished chord directly to a C-flat major chord (bar 111), which then becomes the Neapolitan of B-flat (the dominant of E-flat). After a final, shuddering B-flat 7 chord (bars 113-114), we crash-land back into the opening theme. Part IV: The Return (Section A’) and the Tragic Coda The return (bar 115) is almost identical to the opening, but perceived differently. After the harmonic chaos of B minor, the simple I-V-I of E-flat major now sounds heroic, even tragic—like a survivor smiling after a storm. Suddenly, we are in C major
In Section B, these appoggiaturas become frozen into the harmony itself. The B minor chord is often played with an added C-natural (the flattened ninth), turning it into a half-diminished quality, which is essentially a structural appoggiatura on a massive scale. What makes the harmonic analysis of Schubert’s Op. 90 No. 2 so fascinating is how it bridges two worlds. The form is Classical (binary, balanced phrases). The texture is Classical (Alberti-like left hand, clear melody). But the harmony is pure, intoxicating Romanticism.