Abstract
This paper examines the ways in which Bach retains the modal implications of the Mixolydian cantus firmi “Gelobet seist du, Jesu Christ” and “Dies sind die heiligen zehn Gebot'” in his settings BWV 314, 91 No. 6, and 298. A new theoretical and analytical model is presented, which responds to a wide range of literature on the modes and the modal chorale. The graphic representation of structural levels in the chorales exhibits a Schenkerian approach.
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