Like in Alle Menschen müssen sterben, variations 3 to 6 all employ the melody unadorned and in original note values, with various kinds of accompaniment in shorter note values. Variation 5, the chromatic variation of this set, is a two-part variation and employs chromatic passages in the bass rather than in the melody. The final variation is based on melodic ornamentation, again with miscellaneous kinds of more or less fast passages accompanying. Was Gott tut, das ist wohlgetan Variation 1 features imitative counterpoint in three voices and an ornamented version of the chorale "Was Gott tut, das ist wohlgetan". Following the example of Christus, der ist mein Leben, Variation 2 uses the melody in diminution, accompanied by longer note values in the lower voices and Variation 3 reverses this, using shorter note values in the bass to accompany the unadorned chorale. Variation 4 is the chromatic variation and its somber mood contrasts with Variation 5, which features a heavily ornamented version of the melody in the soprano, mirrored in imitative passages in lower voices. During the next two variations, the original melody serves as a background for the intricate imitative counterpoint in other voices (in Variation 6) and fast arpeggios (the two-part Variation 7). Variation 8 is in and gigue-like, while the final variation engages in parallel thirds, reminiscent of all final variations of each set except the one in Herzlich tut mich verlangen. Pachelbel's sacred concerto Was Gott tut, das ist wohlgetan is based on the same melody and is also a series of variations. Notes References Cesare Fertonani. "Johann Pachelbel. Musikalische Sterbens-Gedanken." Liner notes for CD Edoardo Belotti, Maurizio Salerno. Johann Pachelbel: Musikalische Sterbens-Gedanken., Amadeus AM 197-2 Ewald V. Nolte, John Butt. "Johann Pachelbel", Grove Music Online, ed. L. Macy (accessed 29 December 2005), grovemusic.com (subscription access). Compositions by Johann Pachelbel Compositions for keyboard Variations 1683 compositions