n29: ^5-^6-(^8)-^7-^8 model or one of its variants:
Haydn, String Quartet, op. 76, no. 2, II. I have written at length about this piece here: link to post.
Handel, Jephtha, aria “Waft her angels.” Comment in the note: "orchestra in the framing ritornello, not the voice." The voice does participate -- see (d) in the example below -- and rising figures are certainly strong throughout, but in the abstract Schenkerian terms, all these are affect, "text painting," and the like, not structural. Nowadays I'm not so sure "structural" is enough.
The closing cadence in A. The strong ascent at (a) is derived from the opening ritornello, (c), but the closing cadence is a descending formula, at (b).
After the voice finishes, the orchestra doesn't give up on the rising line, managing it twice in just four bars.
Note n30: ^5-^6-(^5)-^7-^8.
Schubert, Drei deutsche Tänze, D973n2. In 1987, I was trying to avoid the primitive Urlinie (^5-^7-^8), but now I think it would work just as well -- mechanically, at least. I prefer the reading that emphasizes ^6 because of the expressive attention given to that note and its supporting harmony.
In tomorrow's post: Winterreise, no. 2, “Die Wetterfahne.”
