: The final cadence is a violent descent in minor, a rarity for a piece that starts in a major key. Traversing Schubert's Opus 90 Impromptus
mm. 1-4: I - IV - I - IV (A-flat major - D-flat major - A-flat major - D-flat major) schubert impromptu op 90 no 2 harmonic analysis
If Section A was a walk through a pleasant park with sudden gusts of wind, Section B is a plunge into a frozen lake. Schubert does something radical: he abandons E-flat major entirely for key that is harmonically distant: . : The final cadence is a violent descent
mm. 25-28: V7/E-flat - E-flat minor - A-flat major (E-flat dominant 7th - E-flat minor - A-flat major) Schubert does something radical: he abandons E-flat major
– The ear expects a strong E-flat major resolution, but Schubert resolves V⁷ of E-flat (B-flat⁷) to a C-flat major chord (bar 61), which is enharmonically B major – the Neapolitan of the Neapolitan. This is a harmonic ellipsis .
minor) , providing a darker, more poignant contrast. It modulates briefly to the submediant major ( major) before returning to
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 .