transitional passages punctuate the work and give a coherence to the whole movement. Although the added G makes it difficult to recognize the chorale melody, it can be heard more clearly later on, singing out in the tenor part. In the final manualiter episode (bars 76-83) the ostinato pedal figures are taken up briefly by the tenor part before the movement draws to a close over a final extended restatement of the fugue counter-subject in the pedal. The American musicologist David Yearsley has described the chorale prelude as follows: "This energetic, syncopated counterpoint is elaborated above a recurring two-bar theme in the pedal that acts like a ritornello whose continual reappearances are separated by lengthy rests. The ostinato remains constant through the various key-changes that present it in both major and minor mode [...] The shape of the pedal line suggests an archetypal narrative of ascent and descent in perfect symmetry [...] The figure forcefully projects the movements of the feet into the church; heard on full organ (In Organo pleno, according to Bach’s own performance direction) with a registration of all due Gravitas, the feet move with real purpose [...] Wir glauben all' is truly a walker’s piece at the organ."BWV 681 Wir glauben all' an einen Gott (We all believe in one God) The manualiter fughetta in E minor is both the shortest movement in Clavier-Übung III and the exact midpoint of the collection. The subject paraphrases the first line of the chorale; the two-bar passage later in the movement leading to two dramatic diminished seventh chords is constructed over the second chorale line. Although not strictly a French ouverture, the movement does incorporate elements of that style, in particular the dotted rhythms. Here Bach follows his custom of beginning the second half of a major collection with a French-style movement (as in the other three Clavier-Übung volumes, in both volumes of Das Wohltemperierte Clavier, in the early manuscript version of Die Kunst der Fuge and in the group of five numbered canons in the Musikalisches Opfer). It also complements the preceding chorale prelude by following an Italian style with a contrasting French one. Although still evidently written for organ, in style it most resembles the Gigue for harpsichord from the first French Suite in D minor BWV 812. The Lord's Prayer BWV 682, 683BWV 682 Vater unser im Himmelreich (Our Father who art in heaven) Below is