[Footnote 45: "Our Father, who art in heaven." This chorale was one of eight published for Pachelbel by Johann Christoph Weigel at Nuremberg about 1693.] When, in connection with Bach, we speak of Chorales conceived in the style of Pachelbel, it is to this type that we refer: [Music] For the last verse: [Music] Pachelbel preludizes in this manner: [Music] In addition to numerous chorales we have quite a number of fugues by Pachelbel. Here is noticeable this great advance step: the majority are _tonal_. Their subjects are broader, and of a melodic character which distinguishes them from the themes of their contemporaries, which were simple phrases, or parts of a progression, with no "respiration." Thus, while in the sixth Toccata of Muffat,[46] one of the most remarkable composers of his time, we find this scanty theme (we have chosen it from among the better developed ones of that epoch), [Music] we encounter this in Pachelbel: [Music] or this: [Music] [Footnote 46: Georg Muffat, born about 1635, was a pupil of Lully, and studied also in Rome and Vienna. For some time he was organist in Strassburg, and about 1667 entered the service of the Bishop of Salzburg. About 1687 he became organist and master of the pages at the court in Passau. He died there February 23, 1714. He published in 1690, at Augsburg, the "_Apparatus musico-organisticus_" (re-edited by S. de Lange, Leipzig, 1888), which contains twelve Toccatas, one in each of the Gregorian modes, and some pieces of lesser importance. These Toccatas are a development of the older form of the same name, where brilliant passages, harmonic progressions, or fugal imitations, succeeded each other. From each of these elements Muffat made a whole, developed separately; a similar method suggested in certain _Canzoni_ of Frescobaldi was extended in some of the _Capricci_ of Froberger. Nothing but the too sparing use of the pedal prevents these works from being ranked among the most important.] The developments, too, are more consistently polyphonic in nature; they are more extended, by the simple logic of musical speech, without having recourse to foreign devices. In his Toccatas, Pachelbel generally presents to us passages in sixths or tenths for the hands, firmly sustained by pedal notes of long duration, sometimes with changes of rhythm of extremely happy effect. One among others[47] contains a pastoral theme; and this is not an isolated example, for Pachelbel seems to have been fond of popular melodies. Some of these subjects, with their 12/8 rhythm, express the good-nature and simplicity of rustic tunes. [Footnote 47: J. Commer. _Musica sacra_, vol. i, No. 132.] The greater part of Pachelbel's compositions may be found in the first volume of the _Musica sacra_. Others are published in various collections; we would mention in particular a Toccata and a Ciaccona, until now never published, which G.A. Ritter presents in his work _Zur Geschichte des Orgelspiels_.