In the old Mozart Werke, K. 164 has four menuets and trios. Two others--titled "2 Menuette" as Series 24 N.14a--were found to belong to the set as well; these became ns 3 & 4 in the complete set of six. When I use "n4" I am referring to that number in the complete set. Here is the IMSLP link for both files: K164.
The rising scale is certainly fundamental to the first strain of n4, the entire octave G4-G5 being traversed before going one tonic chord tone "too-far" to B5 in bar 8, then dropping back. (Only violin1 and bass are shown here.)
The scalar mid-point D5 is reached in bar 4 and its role firmly settled with the echoing extension of bars 5-6. The melodic design of the whole is comfortably read with Schenker-style lines:
The second strain doesn't follow up on the hierarchy suggested by this arrangement of lines. Instead, it sets itself in the upper tetrachord, emphasizing ^8 with another confirming echo (bars 5-6). The parts shown are flutes, violin 1, and bass. The violins drop down an octave at the last moment (circled), but the flutes reiterate and reinforce the upper register.
In the trio, the gesture of ascent is, if anything, even more obvious and results in a simple ascending Urlinie figure, ^5-^6-^7-^8, across the first strain. Parts shown are flute, violin 1, and bass.
The second strain is in a sense the reversal of the second strain in the menuet: instead of holding to the high note reached there as the end of the line (G5), here Mozart turns back to the initial note of the line (G4 in the violin). Note the (unmarked) "one-too-far" C5 in bar 5.
A pairing of thirds in bars 1-4 involves an overlap--F4 should resolve to E4 but is "overlapped" by the recovered G4. I've always thought this stepwise overlap (as opposed to more vigorous "reaching over") was a bit of reductive sleight of hand but it is common in Schenkerian analytic practice and there is no question that ^5 as G4 is recovered, then dominates the rest of the strain's melody. At the end is one of those "nearly audible" ^3s that later became commonplace in the waltz (and polka) repertoire.
Here is a link to the first of three posts on formal functions in K. 164 on my blog Dance and Dance Music, 1650-1850: link.
