gigue-like figures used earlier by Buxtehude in his chorale prelude Auf meinen lieben Gott BuxWV 179; it has been interpreted as symbolising the triumph of the risen Christ over death. In contrast to the preceding fughetta, the writing in BWV 673 has a playful lilting quality, but again it is modal, unconventional, inventive and non-formulaic, even if governed throughout by aspects of the cantus firmus. The fughetta starts in the key of C major, modulating to D minor, then moving to A minor before the final cadence. Fluidity comes from the many passages with parallel thirds and sixths. Original features of the contrapuntal writing include the variety of entries of the subject (all notes of the scale except G), which occur in stretto and in canon.BWV 674 Kyrie, Gott heiliger Geist (Kyrie, O God the Holy Ghost) BWV 674 is a fughetta for four voices, 34 bars long, in compound time. The writing is again smooth, inventive and concise, moulded by the cantus firmus in E phrygian. The quaver motif in the third bar recurs throughout the movement, often in thirds and sixths, and is developed more than the quaver theme in the first bar. The constant quaver texture might be a reference to the last eleison in the plainchant. The movement starts in G major passing to A minor, then briefly C major, before moving back to A minor before the final cadence to an E major triad. As explains, "The so-called modality lies in a kind of diatonic ambiguity exemplified in the cadence, suggested by the key signature, and borne out in the kinds of lines and imitation." Allein Gott in der Höh' BWV 675–677 Bach's three settings of the German Gloria/Trinity hymn Allein Gott in der Höh' again make allusion to the Trinity: in the succession of keys—F, G and A—possibly echoed in the opening notes of the first setting BWV 675; in the time signatures; and in the number of bars allocated to various sections of movements. The three chorale preludes give three completely different treatments: the first a manualiter trio with the cantus firmus in the alto; the second a pedaliter trio sonata with hints of the cantus firmus in the pedal, similar in style to Bach's six trio sonatas for organ BWV 525–530; and the last a three-part manualiter fughetta with themes derived from the first two lines of the melody. Earlier commentators considered