The bass, as well, also becomes somewhat more lively with a rising triplet motif and occasional trill. The middle section becomes more harmonically adventurous and moves through several modulations. The left hand, throughout much of the piece, provides a firm harmonic support to the arpeggios and melody above, creating a rich and full sound. It is a perfect image of peaceful contentment.

Charming and serene, it is easy to see this Impromptu as a precursor both of Felix Mendelssohn's Songs without Words and Richard Wagner's concept of “endless melody.” The broad melody, above an unbroken accompaniment of arpeggios, moves at a slow and steady pace. The third Impromptu, in the key of G-flat major, is a prime example of Schubert's incredible melodic gift. They are considered companion pieces to the Six Moments Musicaux, also composed around the same time. The first set was published during his lifetime while the second was published shortly after his death in November 1828. Schubert's Impromptus, published in two sets of four, were written in 1827. It is possible that the Impromptus of Voříšek were influential on Franz Schubert's own contributions to the genre much in the same way Chopin drew inspiration from the Nocturnes of John Field. The first known use of the word, in this sense, was in 1817 and was used by a publisher to describe a piano piece by Czech composer Jan Václav Voříšek. Suggesting the air of an extemporized performance, the Impromptu as a musical form came about during the earliest days of the Romantic movement.

Schubert impromptu g flat major