4/5
So, anytime you hear a fully diminished chord there are 8 different ways it could resolve. One for each note in the chord actioning as the 7th scale degree in both a major and minor scale. By using the same chord to resolve to g minor and Bb major before the key has really been established Clara Schumann's introducing uncertainty as to which way this piece is going to go. Also because the those triads are just one note different the melody she wrote works over both, and she's able to keep the harmony similar enough that the change between the two is mostly masked by the addition of an inner voice so it's not even obvious to the listener that they don't know the key yet.

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