We'll begin with the waltz. I've written about it before, in my Rising Lines essay, p. 72. Minor-key waltzes are very rare; in the few that Schubert did write, there is almost always a turn toward the major key to close, either in the parallel or the relative major. In D924n9, he does a bit of both. In the first strain, a second, quiet phrase in the major answers a first, louder phrase in the minor. The second strain, however, is firmly in the relative major. I can't make any broader claim about tonal design in the fluid contexts of a waltz set (the set is a collection, not a fixed composition; n9 is possibly a trio to n8; the first strain might well be repeated to make an ABA design), but it doesn't matter for my point: Schubert creates a very simple ascending Urlinie in the second strain and changes to the major mode to accomplish it.
In the first song of Winterreise, the poet stands outside his beloved's house, ready to leave for good. The second song finds him looking at the weather vane (Wetterfahne) and contrasting his sorrows with the interior of a household that knows nothing about them. Here is the opening.
Here is the first version of the conclusion. For "meinen Schmerzen," VI and an augmented sixth chord, but then a harmonically ungrammatical turn to I6 and a cadence in A major, where the melodic frame is a variant of the ascending Urlinie, or ^5-^6-(^5)-^7-^8.
