These chorales are taken from the cantatas composed at Leipzig. They are, however, only transcriptions; it is interesting in registrating them to know their orchestration. In the chorale _Ach bleib' bei uns!_ (B.-G. xxv, P. vi, 2) the melody is sung by the soprano, accompanied by a _violoncello piccolo_, the _continuo_ sustaining the harmony. In _Meine Seele erhebt den Herrn_ (_Magnificat_, P. vii, 42), the _continuo_ is played by the pedal, the parts entrusted to the left hand corresponding to the duet between tenor and alto, while the chorale (_dextra forte_) is executed in the score by the first and second oboes and the trumpet.] Besides the reeds--trumpet, _chalumeau_, clarion, or _vox humana_--other combinations were permitted for the execution upon one manual of an accompanied solo. Mattheson (_Der vollkommene Kapellmeister_) gives us some examples; among others, the _viola da gamba_ played alone, the eight-foot principal, and the cornet, the Flauto traverso, the eight-foot bourdon, and a two-foot _Waldflöte_. By their particular qualities, these different combinations of registers, now in higher, now in lower relief, were suited to the performance even of the chorales. In fact, it may be said that without doubt the reeds were reserved, within the limits which we have defined, for the joyous chorales of the feast-days; the organists were governed by the necessity of adapting their manner of playing to the joyful or mournful solemnities of the liturgical year. "One plays much stronger at Easter," says Adlung,[159] "than for the funeral service; for Good Friday one must, if possible, use still more discretion." The employment of softer registers for the more serious chorales, and for funeral chants, is also recommended by Christoph Raupach, of Stralsund.[160] [Footnote 159: _Musica mechanica organoedi_ (Langensalza, 1762).] [Footnote 160: _Der vollkommene Kapellmeister_, part ii, chap. xxv.]