The middle section is characterized by a "muscular" soprano line and "oddly bizarre" solo violin.

Ladies, we have to try to remember soprano lines.

At bar 88, the third subject merges into the first subject in the soprano line, although not fully apparent to the ear.

While Schubert left only a completed sketch of this movement, the soprano line allows the harmony to be easily reconstructed.

Fine voices near helped her find the harmony for she didn't have a high enough voice to stay with the soprano line.

The free alto line sometimes rises above the soprano line, creating a "halo" effect.

By emphasizing the soprano line, it also made the other choral parts less interesting to sing.

Expressing a highly ornamented soprano line, his famous publication, Madrigali.

She picked up the soprano line, surprised and pleased to be able to add words to the notes.

The soprano line includes a "drooping" motive, hinting at later harmonic and emotional development.