The fourth waltz simplifies things even further and is the only one in the set where the first strain clearly uses a descending line -- each half of the double period is based on one. See the beam in bars 1-8; in 9-20 (antecedent-expanded continuation) it's obvious without annotation; in the further expansion of bars 21-28 I've put in a beam again. Note the clean "fall from the dominant" involving ^6 and ^7 in bar 27. The second strain is another yodeling theme on ^8.
The final waltz in its first strain is framed by a very well defined mirror Urlinie. A focal tone in the second strain is not so easy to decipher and thus the ending is not, either.
The coda, in a model established already by Lanner and Strauss, sr., in the late 1820s, strings together strains from several of the waltzes. The first is a minor-key version of the yodel in n4; that turns out to be an introduction reaching V -- the first system below. Then follows the entire first strain of n4 and a quick modulation -- the second system below. Next is n2, first strain and another quick modulation -- third system. And finally the first strain of n1, extended through a deceptive cadence -- see the sixth bar in the bottom system -- so that the final cadence offers ^7 and ^8, thus an overall ^8-^7-^8 figure at the background, as promised in yesterday's post.
The note sequences at the upper right of the example trace an upper line from the initial G5 and an inner line ("alto") from (D5) Eb5 [boxed in the second bar of the first system]. I offer these for sake of interest. In fact, I think rather little of "backgrounds" in recitatives, melodramas, potpourris, and similar genres or characteristic formal sections.
