the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in unisono. In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. Symmetrical structure Bach's Magnificat is built symmetrically around the 7th movement (Fecit potentiam): Between the first and the 7th movement there are four verses of the Magnificat, between the 7th and the last there are also four. First, seventh and last movement are in the tonic key, with full orchestra and choir. The second and 11th movement are in the same major key, the third and the 10th movement are in the relative minor key. The movement preceding, and the one following, the central 7th movement are also in a minor key. The fifth and the ninth are in a major key, different from the tonic. The Christmas additions are separated by two Magnificat verses, the first addition being after the second verse. The Christmas hymns are always in the same key as the preceding movement. By verse, this is what the harmonic structure looks like: Verse 1 and 2 (movements 1 and 2, followed by movement A in the Christmas version): tonic key (major) Verse 3: starts in relative minor key (movement 3), moving to another minor key (movement 4) Verse 4 (movement 5, followed by movement B in the Christmas version): major key different from tonic Verse 5 (movement 6): minor key Verse 6 (movement 7, followed by movement C in the Christmas version): tonic key Verse 7 (movement 8): minor key Verse 8 (movement 9, followed by movement D in the Christmas version): major key different from tonic Verse 9 (movement 10): relative minor key Verse 10 and doxology (movements 11 and 12): tonic key Regarding voices and orchestration the four Magnificat verses between the first and the seventh movement, and those between the seventh and the last, have a less symmetrical build-up: here the idea is rather that after a tutti movement there are two or three arias building up to the next choral movement: movements two and three, both for solo soprano, build up to the Omnes generationes choral movement No. 4 movements five (solo) and six (duet), build up to the 7th tutti movement movements eight and nine (both solo movements), followed by an aria for vocal trio, build up to the final two