The final number of D 734, the Wiener-Damen Ländler (not Schubert's title—in fact, he specifically objected to it), opens as a ländler but closes more firmly; the second strain very probably would have been used as a promenade to end a session of dancing. At (a), ^6 is an 8th-note escape tone; at (b) ^6 is an accented neighbor note; at (c) an unaccented incomplete neighbor; at (d), the neighbor note opens the second strain, picking up on a motive from the first strain in the same way we saw yesterday in D 779n18; and at (e) the waltz ninth carries ^6 upward to a close on G5.
Much the same happens in D 769n1. The first phrase hangs on a neighbor note figure where ^6 is prominent as part of a rare inverted V9 chord (box).
In the second strain, ^6 is touched on briefly (circled), and the cadence then completes an ascent to ^8 (A5). Note that the first strain was quiet (mit Verschiebung means use the soft pedal) but the rise to the cadence is accompanied by a crescendo (and in performance possibly would have included an acceleration to the end).
In the final dance of D 779, the second strain is heavily preoccupied with ^6. The loud "promenade music" we saw in D 734n15 above features contrast between an upper register and lower register ^6. Repeated versions of ^6-^5 appear throughout till the rise to ^8 that continues and completes the initial fifth-octave gesture (see the arrow).
Finally, D 814n4, in Brahms’s 2-hand transcription of the 4-hand original, reuses the overall pattern of dynamics (from soft to loud), is based on a sharply rising motive (box), and closes with a very direct linear ascent to ^8 (arrow).
