Six of the twelves pieces incorporate prominent rising lines. The opening "Melodia" is in a ternary form, where A is a double period closing on the dominant, B is a typically unstable middle section, and the reprise is rewritten -- see below. The opening presentation phrase is from the beginning, as is the first idea in the continuation. After that is a two-bar insertion in the piano, and then a considerable expansion of the cadential progression. Scale degree ^5 is quite clear at (a), as is the transposition up a step at (b), and the expressive leap at (c) -- which is magnified in the reprise by the piano's "echo" at (d). At (e) we hear the figure from (c) again but now touching and holding ^6; after a fall from that note, the line closes in the lower octave.
Polichinella is n2 in the set, a polka whose melody--another double period--takes the inverted arch form and finishes with ^6-^7-^8.
The Mazurka (n3) is named Colombina (why Costa Nogueras invokes the commedia del'arte characters is unknown--we will see Harlequin too in n11). Here, the main figure is an ascent from ^5 to ^8, although in the cadence ^5 substitutes for an obviously intended ^7.
In the second strain, likewise, an ascending line is the main figure. In a formal analysis graph, I would treat this as a three-part Ursatz, with ^3/^5.
