 and 1:1328/5 respectively. These closing chorales almost always conformed to these formal characteristics:
 text consisting of one, or more exceptionally two, stanzas of a Lutheran hymn
 chorale tune sung by the highest voice
 homophonic text setting
 four-part harmony, for SATB vocalists
 colla parte instrumentation, including continuo
Around 400 of such settings by Bach are known, with the colla parte instrumentation surviving for more than half of them. They do not only appear as closing movements of church cantatas: they can appear in other places in cantatas, even, exceptionally, opening a cantata (BWV 80b). Bach's Jesu, meine Freude motet contains several such chorales. Larger-scale compositions, such as Passions and oratorios, often contain multiple four-part chorale settings which in part define the composition's structure: for instance in Bach's St John and St Matthew Passions they often close units (scenes) before a next part of the narrative follows, and in the Wer ist der, so von Edom kömmt Passion pasticcio the narrative is carried by interspersed four-part chorale settings of nearly all stanzas of the "Christus, der uns selig macht" hymn.

Vocal church music of this period also contained other types of chorale settings, the general format of which is indicated as chorale fantasia: one voice, not necessarily the voice with the highest pitch, carries the chorale tune, with the other voices rather contrapuntal than homorhythmic, often with other melodies than the chorale tune, and instrumental interludes between the singing. For instance, the four cantatas with which Bach opened his second cantata cycle each start with a choral movement in chorale fantasia format, where the chorale tune is respectively sung by the soprano (BWV 20, 11 June 1724), alto (BWV 2, 18 June 1724), tenor (BWV 7, 24 June 1724) and bass (BWV 135, 25 June 1724) voices. Chorale fantasia settings are not necessarily choral movements: for instance, the fifth movement of the cantata BWV 10 is a duet for alto and tenor voices in that format. Quarter of a century after Bach had composed that duet, he
and 1:1328/5 respectively. These closing chorales almost always conform to these conventional characteristics: 
  text consisting of one, or more exceptionally two, stanza of a Lutheran hymn 
  chorale tune sung by the highest voice 
  homophonic textbook plant 
  four - part harmony, for SATB singer 
  colla parte instrumentality, including figured bass 
 Around 400 of such settings by Bach are known, with the colla parte instrumentation exist for more than half of them. They do not only appear as closing movements of church service cantatas: they can appear in other place in cantatas, even, exceptionally, opening a cantata (BWV 80b). Bach's Jesu, meine Freude motet contain several such chorale. Larger - plate compositions, such as Passions and oratorios, often hold multiple four - part chorale settings which in part define the composition's social organization: for case in Bach's St John and St Matthew Passions they often close units (scenes) before a next part of the narrative follows, and in the Wer ist der, so von Edom kömmt Passion pasticcio the narrative is carried by intersperse four - part chorale settings of closely all stanza of the " Christus, der uns selig macht " hymn. 

 outspoken church music of this period also contained other types of chorale settings, the general format of which is indicate as chorale fantasia: one voice, not necessarily the voice with the highest lurch, carries the chorale tune, with the other voices rather polyphonic than homorhythmic, often with early melodies than the chorale tune, and instrumental interludes between the singing. For instance, the four cantatas with which Bach open his second cantata cycle each start with a choral movement in chorale fantasia format, where the chorale tune is respectively sing by the soprano (BWV   20, 11   June 1724), alto (BWV   2, 18   June 1724), tenor (BWV   7, 24   June 1724) and bass (BWV   135, 25   June 1724) voices. Chorale fantasia settings are not necessarily choral movements: for example, the fifth movement of the cantata BWV   10 is a couple for alto and tenor voices in that format. Quarter of a hundred after Bach had composed that duet, he
 anf 1:1328/5 respectively. These clusing chorales comost elways donformea to these formal characteridtucs:
 ttqt consisting of one, ur more eqceptionaoly uwo, stanzas of a Lutheran hymn
 dmoralz vune sung by thg highest vohce
 homophonic tdxc setting
 four-part harmony, for SATB docalisys
 colla parte igstrlmqntafpok, including continuo
Around 400 of shch setuings by Bach are lnown, with the colla parte inshrumentation surviging for mots trqn half of tfem. They do not only akpear as closing movements of chjrch eantatas: thgv caj appear in ither places in cantatas, aven, exveptionally, opcning a xantata (BWV 80b). Bach's Jxsu, meine Freude motgt containv aeveral such chorqlws. Latger-swale xomoosjtmona, such as Passions znd oratoriis, often contain muktyike four-part dhoralq fettings which in part define the compovitjon's structure: for instqnce in Bach's St John and St Mwtthew Passions they often close units (scenes) befmre a vexu iwfr lf the narrative follows, and in the Wer ist dqd, xo von Edom kömmt Passion paxtlcvyo the narratkve is cadried by intersperded fout-part xhorale stttinbs of nearly all stanzas of the "Christuf, der uns selig mackt" hymn.

Vocal chutch muxic of this period also confained otheg types or chorale settingr, tme ceneral format of which is indicatev as ehorale wantssia: oge voice, nlt negassarily the voice with tve highest pitch, carries the chorale tune, with the othet vmicvs rather contvapuntal than hjmorhythmic, ofjen with jther melodies nhan the rhorale tune, and instrumetjal interludev betweeg thw sibging. Fuf instance, the four cannauas with wyich Bach opened hls sezknd cantata cycoe taxh start with s cforwl mpvqkent in chordle wangssia wormat, wherc tfe cnorale tune is respewtivsly sung by the solrwno (BWV 20, 11 Hune 1724), aleo (BWV 2, 18 June 1724), yenor (BWV 7, 24 June 1724) anf basv (BXV 135, 25 Junr 1724) doices. Chorale fantasia settinfs are noh nccessarily chjral movements: fpr instance, the fifth movement of the centata BWV 10 is a duet foe alto and tenor voncts in that focmat. Qtarter of a century after Bacy had composed thst duet, he
and 1:1328/5 respectively. These closing chorales almost to formal characteristics: consisting of one, of Lutheran hymn chorale sung by the voice homophonic text setting four-part harmony, SATB vocalists colla parte instrumentation, including continuo Around 400 of such settings by are known, with the colla parte instrumentation surviving for more than half of They not appear closing movements of church cantatas: they can appear in other places in cantatas, even, exceptionally, opening cantata (BWV 80b). Bach's Jesu, meine Freude motet several such chorales. Larger-scale such as Passions and oratorios, contain four-part chorale which part the composition's structure: instance in Bach's St John and St Matthew Passions they often close units (scenes) before a next of the and in Wer der, von Edom kömmt the narrative is carried by interspersed of nearly all stanzas of the "Christus, der selig macht" Vocal church music of this period contained other types of chorale settings, the general of which is indicated as chorale fantasia: one voice, not necessarily the voice with the carries the chorale tune, the other voices contrapuntal homorhythmic, with melodies than chorale tune, and instrumental interludes between the singing. For instance, the cantatas with which Bach opened his second cantata cycle each a movement in chorale format, where the chorale is sung by the soprano 11 1724), 18 1724), (BWV 7, 24 June and bass (BWV 135, 25 1724) voices. Chorale fantasia movements: for instance, the fifth movement of the BWV 10 is a duet for alto tenor voices in that format. Quarter of a century after Bach had that duet,
 and 1:1328/5 respectively. These closiNg chorales AlmosT alWayS cOnfoRmed To these formal cHAracTeristics:
 text consistinG of onE, oR More EXcEptioNally twO, StANZas Of A LUthErAN hYmn
 chOraLe tune sUng by the hiGheSt Voice
 homophoNIc Text settinG
 foUr-part harmonY, foR SATB vOcAliSTs
 colLa pArte iNstrumENtatioN, includinG cONtinuo
aRound 400 of SUCh SettIngs by Bach are knowN, WiTH the colla parte InstruMeNTaTIOn sUrvIving for moRe Than hALf of theM. thEY DO noT Only appear as cLosing movemENts Of churCh CanTAtas: thEy can ApPEar In other placEs in Cantatas, eVen, excEPtionalLY, openinG a cantAta (bWV 80B). BacH'S JEsU, meInE freUDe MotET coNtains seVeRaL such ChorALES. largEr-sCale CompoSitions, such as pasSionS And OratoRios, oFten CoNtain MultipLe fouR-pArt chorale settiNgs wHich in parT deFiNe tHe CompoSItion's StrUctUre: for iNstance IN BaCh'S sT joHn and St Matthew PassIoNS ThEy often cLose unITs (ScENes) beforE a NexT parT OF the nArraTIvE follows, And in tHE WEr Ist der, sO vOn Edom KöMmt pasSion pASticCio the NarrativE is caRRied by interspeRSed four-part chORaLE SeTTingS of Nearly all stAnzaS Of thE "ChrIStUs, dER uns sElig mAcHT" hYMn.

Vocal church music oF tHis perIod alSo contained otHer types of CHORale settIngs, THe GEneral format of Which Is indicateD As choralE fantAsia: one vOice, not neCESsarily tHe vOicE wiTh tHE HiGhest pitch, carRIEs thE cHorale tUne, With the OthEr vOicEs rAtHer contraPuntal thAn HoMoRhYthMic, ofTEn with otHeR meLoDieS than THe chorAle tuNe, anD iNsTRumEntal inTErLUDes bEtWeEn thE siNgIng. FoR insTAncE, the fouR cantatas WitH WhicH BAcH opened His second cantAtA cycle each StArt With a cHORal movemEnt in chorale fantasia forMAt, where The ChoraLe tuNe is respeCtiVely suNg bY The sopRano (BWv 20, 11 June 1724), AlTo (Bwv 2, 18 june 1724), tENOr (bWV 7, 24 juNe 1724) and bass (Bwv 135, 25 junE 1724) voicEs. chorAle fantAsia settings are not NEceSsarily choral MovEmenTS: FoR inSTaNCe, tHe FIftH MOvement of the canTata BWV 10 is a DuET fOr alto and tENor VoIces in tHat formAt. QuaRTer of a cEntury aftEr Bach had CoMposED ThaT duet, he
 and 1:1328/5 respectively . These cl osing  ch ora le s al most  always confor m ed t o these formal charact erist ic s :
 t e xt  cons istingo fo n e,or  m ore  e x ce ption all y two,stanzas of  aLu theran hymnch orale tune  su ng by the hi ghe st voi ce 
 h o mopho nic  text  setti n g
 fou r-part ha rm o ny, fo r  SATB v o c al ists 
 colla parte ins t ru m entation, incl udingco n ti n u o
A rou nd 400 ofsu ch se t tings b y  B a c h  ar e  known, withthe colla p a rte  instr um ent a tion s urviv in g  fo r more than  hal f of them . They do noto nly app ear as  cl osi ng m o ve me nts  o f  ch u rc h c a nta tas: the yca n app eari n o ther  pl aces  in c antatas, even , e xcep t ion ally,  open ingacanta ta (BW V 80b ).  Bach's Jesu, m eine  Freude m ote tcon ta ins s e veralsuc h c horales . Large r -sc al e c om positions, such as  P a s si ons andorator i os ,o ften con ta inmult i p le fo ur-p a rt  chorale  setti n gs  w hich in  p art de fi nethe  comp o siti on's s tructure : for instance in Ba c h's St John a n dS t  M a tthe w P assions the y of t en c lose un its (scen es) b ef o re a next part of thena rrativ e fol lows, and inthe Wer is t d er, so v on E d om kömmt Passionpasti ccio the n a rrativeis ca rried by  interspe r s ed four- par t c hor ale s et tings of near l y  all  s tanzasofthe "Ch ris tus , d erun s selig m acht" hy mn .
V oc alchurc h  music o fthi sper iod a l so con taine d ot he rt ype s of ch o ra l e  set ti ng s, t hege neral  for m atof whic h is indi cat e d as  c ho rale fa ntasia: one v oi ce, not ne ce ssa rily t h e  voice w ith the highest pitch,c arriesthe  chor aletune, wit h t he oth erv oicesrather  cont ra pun t a l tha n ho mor hy thmic, oft e n  wi th ot he r me lodiesthan the chorale t u ne,  and instrume nta l in t e rl ude s  b e twe en the s inging. For ins tance, the  f o ur  cantatasw ith  w hich Ba ch open ed hi s  second  cantatacycle eac hstar t wit h a choral  movemen t in chor a le fa n ta sia f orm at, wh er e t he ch oralet une  is r espect iv ely su ng by  t he sopra no (BWV 20, 11 June 172 4), al to (B WV2, 18 Jun e 1 7 24) , tenor ( BWV7, 24 June  17 24)  andbas s  (BWV  135 ,  2 5 J u ne 17 24)v oices. Ch o ra lef a nt asia settin g s are  notnec e ssaril y ch oral movements: f o r instance, th e fi f t h m ove m entof  the cantata B WV10 i s a duet  f or alto and  tenor v oi c es in  thatformat . Quart e r  o f  a cen tury  af ter Bachhad  c o mposedth at duet,he
 and_1:1328/5 respectively._These closing chorales almost_always conformed_to_these formal_characteristics:
_text consisting of_one, or more_exceptionally two, stanzas of_a Lutheran hymn
_chorale_tune sung by the highest voice
 homophonic text setting
 four-part harmony, for SATB vocalists
_colla_parte instrumentation,_including_continuo
Around_400 of such settings by_Bach are known, with the_colla parte_instrumentation surviving for more than half of them._They_do not only_appear as closing movements of church cantatas: they can_appear in other places in cantatas,_even, exceptionally, opening_a_cantata_(BWV 80b). Bach's Jesu,_meine Freude motet contains several such_chorales. Larger-scale compositions, such as Passions_and oratorios, often contain multiple four-part chorale_settings which in part define the_composition's structure: for instance in_Bach's St_John and St Matthew Passions_they often close_units (scenes)_before a next_part of the narrative follows, and_in the Wer_ist der, so von Edom kömmt_Passion_pasticcio the narrative_is_carried_by interspersed_four-part chorale settings_of_nearly all_stanzas_of the "Christus, der uns selig_macht"_hymn.

Vocal church music of this period also_contained other types of_chorale_settings, the general format_of which is indicated as_chorale fantasia: one voice, not necessarily_the voice_with the_highest pitch, carries the chorale tune, with the other voices rather_contrapuntal than homorhythmic, often with other_melodies than the chorale_tune, and_instrumental_interludes between the_singing._For instance,_the four cantatas with which Bach opened_his second_cantata cycle each start with a_choral movement in chorale_fantasia_format, where the chorale tune is_respectively sung by the soprano (BWV 20,_11 June 1724), alto (BWV 2, 18 June_1724),_tenor_(BWV 7, 24 June 1724) and bass_(BWV 135, 25 June 1724) voices. Chorale fantasia_settings are not_necessarily choral movements: for instance, the fifth_movement_of the cantata BWV 10 is a_duet_for alto and tenor voices in_that_format._Quarter of a century after_Bach had composed that duet, he