Fantasy Impromptu

The composition Fanatasy Impromptu from Schumann was written in d minor. The form of the
composition is :
A A1 / B A2

8 8 10 10

4+4 4+4 6+4 4+4

A
Throughout the composition there is one motif that varies throughout the composition. The motif begins
with a tone d , that is repeated three times and on each eighth (eighth, eighth quarter note) in 2/4
measure which gives us the impression of tonic harmony, also tone a2 which is dominant of d-minor or
third of sextakord since harmony , sextakord of I. degree , and tone cis1 which acts as alternating tone
(d,cis,d) which gives knowledge of d moll since cis is a leader of d-minor and is accompanied by
sextakord of VII. (diminished sextakord).

The first two bars are repeated. Then comes the third beat that repeats the main motive and harmoia,
on the second beat of beat 3 the same motif is repeated but in g minor and begins with 2 chord VII. The
fourth bar is also sequenced motif and ends on V. (4/3) And in soprano the main motif is varied, which is
(fis1,d2,d1,fis1) that seeks a solution to the 1st degree of g minor.
5 and 6 beats are repeated exactly the same as 1 and 2 bars except that they are in g-minor and not in D-
minor.
Tact7. it is repeated except that at another bar it sequences the main motif and returns to d-minor via
D/D 7. Bar 8 ends on a sequence of motifs that is at the first beat and ends with harmony I.-V. and at
the second bar the first beat is repeated to confirm the end of the phrase A, also diminuendo stands at
the beginning of bar 8 which also indicates the end of the phrase.

A1
It repeats the whole A besides its being an octave lower and the 16th beat is different ends on the tonic
and the gradual passthrough of the bass that goes downfrom the 6 i. to 5/3 and the soprano that has
the main theme in d-minor which is solved with the bass in the octave and repeats its solution in for an
octave higher (cis2,d2) indicates the end of the phrase.

It starts in F major and two new motifs appear, we can classify these motifs and put them under one but
I put them separately because of the rhythm and the impression of the "question answer" that
they leave on the composition. The motif1, which I marked with purple, appears at the first and
second beat in the sixteenth notes and marks the chord descending harmony of a beat , while
the second motif in the eighths also appears at each bar and I in the harmonic function 6-5 or 2-
8 . These motifs are repeated from 17 bars to 22. . These bars are presumed 2+2+2 because each
bar is repeated twice. In bar 19 at the second beat it returns to d minor via D/D 5/3 .
Bar 24 starts with the main motif that is varied and mixes with motif 2 which is in bass at the first beat
and on the second it is reapited in soprano in inversion, at the second beat the main motif is
reapited in bass which is the anticipation for g moll in 24 bar. 25 bar ends on the tonic of d
minor which at the second beat is 7 III. with cis. The 25 bar is reapited and the phrase B ends.

A2
Everything is repeated as the phrase A1 except that it is an octave higher and has small variations like the
thirds in the main motif (f2,a2) in Tact number 27.28,