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.
Correction for accuracy: In bar 162, Schubert slips in a on A-flat (A-flat, C, E-flat, F-sharp) that resolves deceptively not to the dominant (B-flat), but to a F-flat major triad (spelled F-flat, A-flat, C-flat). This is an astonishingly remote chord in E-flat major (the flat submediant of the subdominant? It doesn't matter—it’s pure color). This final harmonic gasp reminds us that even in victory, Schubert cannot forget the shadows. schubert impromptu op 90 no 2 harmonic analysis
The Trio (Section B) is one of the most famous examples of Schubert’s bold harmonic language. It shifts to . Schubert modulates from E-flat major to its dominant,
The A’ section repeats the A section’s harmony almost literally until the coda. Correction for accuracy: In bar 162, Schubert slips
A dramatic finale that reintroduces B-minor elements, forcing the piece to end in E-flat minor rather than the home major key. Key Harmonic Highlights