The Coda returns to the triplet rhythm but keeps the minor-key gravity of the Trio. Tragic Ending: It closes with emphatic E-flat minor chords
This section itself follows a compound ternary form (a-b-a'). It opens with rapid, scale-based triplets in E-flat major. Modulation: schubert impromptu op 90 no 2 harmonic analysis
| 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 Coda returns to the triplet rhythm but
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 . Modulation: | Bar Range | Key | Function
| Feature | Example in the Piece | Effect | |---------|----------------------|--------| | | Eb → Cm → Ab → Fm | Smooth but unexpected key changes | | Enharmonic respelling | Eb major to B minor (Eb = D#) | Sudden, dramatic contrast | | Neapolitan sixth chord | Fb major (spelled Fb-Ab-Cb) in bars 55 & 185 | Chromatic color, expressive tension | | Augmented sixth chords | German (bar 14) and French (bar 105) | Intense dominant preparation | | Chromatic mediants | Eb to G major (bar 33) | Romantic, lush sound | | Abrupt juxtaposition | End of B section (F# major) to A’ section (Eb major) | Disorienting, magical return |
This is the most astonishing moment in Section A. The right hand plays a descending chromatic scale, but Schubert harmonizes it with a chain of diminished seventh chords . He cycles through: