Michael Pamer, Neue brillante Ländler, vol. 10 (1827), part 2

In yesterday's post, I looked at ns 5 & 6 in the first group of Ländler in volume 10 of Michael Pamer's Neue brillante Ländler. Like those two, n3 has a clearly formed rising line ^5-^6-^7-^8 in the first strain with upper-voice covering embellishments. Here, E6 suggests an open cadence with implied D6 in bar 8. In the second strain, however, the upper register becomes much stronger, the result being the balanced voices of the interval frame G5-D6. I don't hear a primitive rising line at the end, though you can see the notes in the score, because the lowest voice D5 has receded greatly in favor of the two higher voices.

In the first number of the group, neighbor notes move about G5 (circled). The violinistic broken figures are even more prominent in the second strain here than they were in n3 above.

In n4, a simple line rises in the first phrase -- at (a), but, uniquely among the twelve strains of the six Ländler in this group, the second phrase doesn't open with a literal repeat of bar 1. The upper voice in this case starts from D5 -- at (b) -- and descends to an open cadence with a strongly implied B4.

I'm not quite sure what to make of n2, which is why I have put it last. The second strain is obvious enough: boxed notes show thirds descending by step in each of the two phrases: D6-B5 to C6-A5 to B5-G5. I haven't shown the lower-octave doubling of this figure: B4-D5 at the beginning, C5-A4 in the seventh bar and G4 (with an implied B4) in the final bar. The first strain seems to separate its display opening flourish—open-string pizzicato and two high notes—from the descending stepwise figures that follow (see the lines charting these below the staff and then above).