Bad, zu waschen uns von Sünden, ersaüfen auch den bittern Tod durch sein selbst Blut und Wunden; es galt ein neues Leben. Das Aug allein das Wasser sieht, wie Menschen Wasser gießen; der Glaub im Geist die Kraft versteht des Blutes Jesu Christi; und ist vor ihm ein rote Flut, von Christi Blut gefärbet, die allen Schaden heilen tut, von Adam her geerbet, auch von uns selbst begangen. To Jordan when our Lord had gone, His Father's pleasure willing, He took His baptism of St John, His work and task fulfilling; Therein He would appoint a bath To wash us from defilement, And also drown that cruel Death In His blood of assoilment: 'Twas no less than a new life. The eye but water doth behold, As from man's hand it floweth; But inward faith the power untold Of Jesus Christ's blood knoweth. Faith sees therein a red flood roll, With Christ's blood dyed and blended, Which hurts of all kinds maketh whole, From Adam here descended, And by ourselves brought on us. The chorale prelude Christ unser Herr zum Jordan kam BWV 684 has a trio sonata like ritornello in C minor in the three parts of the manuals with the cantus firmus in the tenor register of the pedal in the Dorian mode of C. Bach specifically stipulates two keyboards to give different sonorities to the imitative upper parts and the bass part. The undulating semiquavers in the bass, usually interpreted as representing the flowing waters of the Jordan, imitate a violine continuo, according to the model of Kauffmann's Harmonische Seelenlust. The musical content of the ritornello contains explicit allusions to the melody of the chorale, sometimes hidden in the semiquaver passage work and motifs.BWV 685 Christ unser Herr zum Jordan kam (Christ our Lord to the Jordan came) The manualiter chorale prelude BWV 685, despite being only 27 bars long and technically speaking a three-part fughetta, is a complex composition with dense fugal writing. The subject and countersubject are both derived from the first line of the cantus firmus. The compact style, imitative contrapuntal writing and sometimes capricious touches, such as repetition and the ambiguity in the number of parts, are features that BWV 685 shares with the shorter chorale preludes in Kauffmann's Harmonische Seelenlust. The contrary motion between the parts in bar 9 harks back to the compositions of Samuel Scheidt. has given a precise analysis