I wait with patience. The chorale prelude Aus tiefer Not schrei ich zu dir BWV 686 is a monumental chorale motet in the phrygian mode of C. The climax of Clavier-Übung III, it is composed in the strict polyphonic stile antico of Palestrina using florid counterpoint. This is Bach's unique six-part composition for organ, if the Ricercar a 6 from the Musical Offering BWV 1079 is discounted. German organ writing for double pedal () can be traced back to Arnolt Schlick and Ludwig Senfl in the 16th century; to Samuel Scheidt in two settings from his Tabulatura Nova in the early 17th century; and in the baroque period to Buxtehude, Reincken, Bruhns, Tunder, Weckmann and Lübeck. In France, among the composers to have written double pedal parts were François Couperin, in his organ mass des paroisses, and Louis Marchand. The first verse of Luther's hymn had already been set by Bach in the cantata Aus tiefer Not schrei ich zu dir, BWV 38 (1724). The fact that the setting in BWV 686 flows more easily, has more countersubjects, has more novel features and has typically organ figurations in the final section has suggested that in this case the whole of Luther's text was taken into account and that it is a purer version of the stile antico. Following the huge scale of the opening, Bach highly inventively incorporates motifs from the cantus firmus into the countersubjects of the seven sections (counting the repeat), resulting in a constantly changing musical texture. The widest range in pitch between upper and lower parts occurs exactly halfway through at bar 27. At the end of each line the cantus firmus is taken up in the left (lower) pedal, which, without break, then plays the countersubject while above the right (upper) pedal concludes the section by playing the cantus firmus in the tenor register in augmentation (i.e., with doubled note lengths). The proliferation of dactyl "joy" motifs (a crotchet followed by two quavers) in the last section of the prelude reflects the optimism in the last verse. has given the following analysis of the seven sections: first and third line: fugal section, with stretti in tenor and soprano manual voices at b.3 and in bass and soprano manual parts in b.9; countersubject with syncopation and crotchet figures second and fourth line: the rising three-note phrase or caput at the start of the melody occurs in