Schubert prepares this by implying C-flat major (the flattened 6th of E-flat) and then enharmonically transforming it into B minor to create a "bohemian" or "Hungarian" waltz feel.
as a dominant pivot. This provides a temporary bright spot in an otherwise dark section.
) that utilizes and enharmonic modulations (most notably the shift to
The B-minor theme returns with devastating force ( fortissimo ). As Section B closes, Schubert uses a common-tone technique to bridge back to Section A. The note B (which is enharmonically C-flat ) acts as an upper neighbor-tone that slides down to B-flat , the dominant pitch of the original E-flat major key. Section A' (mm. 169–250)
Schubert prepares this by implying C-flat major (the flattened 6th of E-flat) and then enharmonically transforming it into B minor to create a "bohemian" or "Hungarian" waltz feel.
as a dominant pivot. This provides a temporary bright spot in an otherwise dark section. schubert impromptu op 90 no 2 harmonic analysis
) that utilizes and enharmonic modulations (most notably the shift to Schubert prepares this by implying C-flat major (the
The B-minor theme returns with devastating force ( fortissimo ). As Section B closes, Schubert uses a common-tone technique to bridge back to Section A. The note B (which is enharmonically C-flat ) acts as an upper neighbor-tone that slides down to B-flat , the dominant pitch of the original E-flat major key. Section A' (mm. 169–250) schubert impromptu op 90 no 2 harmonic analysis