Scribd
Upload
670 views5 pages

Analysis Paper 2 Schubert

This summarizes the analysis of measures 83-102 of Franz Schubert's Impromptu Op. 90, No. 2. The excerpt is from the trio section in B minor, consisting of five four-bar phrases that end with a modulation to F-sharp minor. The rhythm is consistent, accenting the second beat to give a waltz feel. Variations in rhythm and counterpoint techniques like neighbor tones and passing tones add interest. The phrases establish and confirm the tonic key before modulating to the new key of F-sharp minor.

Uploaded by

api-311244061
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
670 views5 pages

Analysis Paper 2 Schubert

This summarizes the analysis of measures 83-102 of Franz Schubert's Impromptu Op. 90, No. 2. The excerpt is from the trio section in B minor, consisting of five four-bar phrases that end with a modulation to F-sharp minor. The rhythm is consistent, accenting the second beat to give a waltz feel. Variations in rhythm and counterpoint techniques like neighbor tones and passing tones add interest. The phrases establish and confirm the tonic key before modulating to the new key of F-sharp minor.

Uploaded by

api-311244061
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
You are on page 1/ 5

Clark 1

Emily Clark
11/11/15
MUSI 707

Franz Schuberts (1797-1828) Impromptu Op. 90, No. 2 in E flat major is one
of four impromptus written in 1827 that exemplifies the characteristics of the early
Romantic Period. An impromptu is a free form instrumental piece, usually a solo,
that is reminiscent of an improvisation. Impromptu No. 2 was written in Minuet and
Trio form, and carries some of these soloist improvisational techniques. Measures
83-102 is the opening of the trio section in b minor. It consists of five four bar
phrases and ends with a modulation to the dominant, F sharp minor.
The rhythm is very consistent throughout this piece. In the trio the rhythm is
altered from the minuet to give it more of a waltz feel. The triplet comes on beat
two accenting the beat. The rhythm is then altered every third measure to add
variety to the music, and to give it forward momentum. Three quarter notes in the
soprano voice caries the melody every third bar, and the rhythm in the other voices
is altered in each phrase to add to the improvisational aspect of the impromptu.
The first phrase, measures 83-86, establishes the tonic. Both hands are used
to present the harmony with a strong accent on the second beat. Accenting the

Clark 2
second beat gives the affect of a waltz.

This phrase can be reduced.

The phrase starts on a I chord in measure 83. The B tonic is strongly


emphasized, as it is written in three voices in three different registers. The next
chord is a 6/4/2 contrapuntal chord that is acting as a passing and a neighboring
chord. The alto voice in measure 84 is acting as a neighbor tone going from the F#,
G, and back to F# in measure 85. The tenor voice in measure 84 is acting as a
passing tone going from D to C# and then resolving to B in measure 85. Measure 85
outlines the tonic. The rhythm changes, and the harmonic rhythm speeds up with it

Clark 3
so that there are three harmonies in the single measure instead of just one. It starts
with a I6 chord, moves to a V4/#3, and ends on a I chord. The V4#3 acts as a
passing chord from the I6 to the I. The soprano moves up by step and the bass
compliments this by moving in contrary motion also by step. The C# in the soprano
is a passing tone, as well as the C# in the bass.
If taken to the next level of reduction, one can see the use of third species
counterpoint in this measure. The sustained F# sharp in the alto and tenor voices
act as the cantus firmus and the soprano and bass are the melody moving in
quarter notes. The phrase ends in measure 86 on a V chord.

The next phrase (m. 87-90) continues with the


same rhythmic pattern and heavy accent on the
second beat. The third measure again varies the
rhythm but does so differently than the first phrase, acting to continue the melodic
progression. The harmony in measure 87 is V. This is followed by a I chord. Measure
89 is the variant measure. The rhythm speeds up to three quarters in the

Clark 4
measure, but the harmonic rhythm stays the same. This measure is a neighboring
contrapuntal 4/3 that acts to prepare the ear to hear the chord in the proceeding
measure which goes back to a I chord.
The next phrase, measures 91-94, is exactly the same as the first phrase. The
repetition of the phrase confirms the tonic before the modulation to F sharp minor.
The phrase after that, measures 95-98, is a transitional phrase to the new key.

It starts on a V chord and goes to a I chord which confirms b minor one last
time before it makes it modulates to F sharp minor. Measure 97 shifts to the new
key. This is done by the inclusion of G sharp in the chord making it a #4/3 of V chord
that acts contrapuntally to shift to the new key and prepare the V chord in the
proceeding measure. The dissonant 7th in the tenor, F#, resolves down by step to an
E# sharp in the next measure. The D in the soprano resolves down by step to a C#.
Measure 98 marks the official arrival of the new key is confirmed by a perfect
authentic cadence in the next phrase.
The final phrase in this passage, measures 98-102, is in the new key and acts
as a chord progression to a cadence in the dominant key. The progression is as
follows, I, bII6, V#, I. This indicates an arrival on the new key of F sharp minor.

Clark 5

You might also like