minims or crotchets in all parts, all of which move stepwise (up or down to the nearest note); previous crotchet countersubject inverted fifth line: all parts except the manual bass have the melody; the syncopated countersubject involves either jumps, four-quaver figures or anapaests (two quavers followed by a crotchet) sixth line: melody only in alto and tenor manual and tenor and bass pedal parts; jumps in the countersubject break up the musical texture seventh line: melody in all parts in slightly modified form and with some inversion; animated dactyl and quaver figures in countersubject, adding more lively modern elements to the severe stile anticoBWV 687 Aus tiefer Noth schrei' ich zu dir (Out of the depths I cry to Thee) This smaller manualiter setting of Aus tiefer Noth schrei' ich zu dir is a four-part chorale motet in the key of F minor, with the augmented cantus firmus in the phrygian mode of E in the uppermost soprano part. The strict contrapuntal writing is denser than that of BWV 686, although it adheres less to the stile antico and has a more uniform texture. Commentators have suggested that the continual responses to the fugue subjects by their inversion signify confession followed by forgiveness. has pointed out the following musical features in the seven sections of BWV 687: in each section, the fugue subject in quavers is derived from elements of the corresponding cantus firmus; it is answered by inversions of the subject in stretto in each section, there are five bars with alto, tenor and bass in counterpoint, followed by eight bars of the soprano cantus firmus in minims and ending with a one bar cadence as each cantus firmus episode progresses, the accompanying lower parts move in a more animated way Communion BWV 688, 689BWV 688 Jesus Christus, unser Heiland (Jesus Christ our Saviour) Below is the full text of Luther's hymn with the English translation by Charles Sanford Terry: The chorale prelude Jesus Christus, unser Heiland BWV 688 is a trio sonata with the upper voices in quavers and semiquavers the manuals and the cantus firmus in minims in the pedal in the Dorian mode of G, like a Gregorian chant. The eccentric angularity of the keyboard subject with its great widening or narrowing leaps is derived from the melody. It has prompted much speculation as to its iconographic significance. "Unwavering faith" has been taken to be the