Note 32 is about the registral variant ^5-^6-(reg.)^7-^8. Here is a link to the first post about this form: link.
In the note I mention Beethoven, String Quartet, op. 74, IV. Comment in the note: "where ^6 is somewhat extended."
In looking at the score of this quartet again, I see that my placement of this movement under the registral variant doesn't make sense. Since it is equally reasonable to hear movements I & III in terms of backgrounds with rising lines, I now suspect "IV" was an error, a typo for either "I" or "III." I intend to examine both earlier movements in the essay I am preparing based on the JMT-series blog posts. Here, however, I will keep attention on IV, whose rising line is prominent indeed.
The fourth movement is not an Allegro molto or Vivace finale, but instead a set of variations on an Allegretto theme. Here is the theme, and as the score and annotations show, there really is no doubt about the status of a focal tone ^5 and an ascending Urlinie at the end.
Five variations follow, plus a extended coda that starts out sounding like another variation. Variations 1-3 & 5 maintain the clarity of the rising line -- variation 2 (below) even gives to the first violin a simple reduction of the line! Variation 4 (not shown here) has a new melody in the first violin; it is centered on and closes on ^3 (G4).
A distinctive feature of the theme that is repeated in the first three variations is the old cadenza perfetta 6-8 figure appearing in both the half-cadence to G that ends the first strain and in the final cadence to the tonic.
The coda-qua-variation-6 (or variation 6 with coda character) can be read with the shapes of the theme in the first violin part, but the bass is strange indeed, so that it's hard to know quite what to make of the upper voice(s). The durations of the theme are maintained: bars 3-10 = theme, bars 1-8;
bars 11-14 = theme, bars 9-12, continuation phrase 1; bars 15-22 = theme, bars 13-20, expanded continuation phrase 2. The coda to this variation (or coda to this coda) runs an additional 53 bars. Within that the gesture of a "structural cadence" does appear in bars 39-42 -- see the bottom of the example below. At this moment, at least, the rising line is gone, but after the theme and five (six?) variations, the gesture seems rather hollow, a formula there because it's expected.
