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Unique Accidentals: 3-4
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J.S. Bach
J.S. Bach: Matthäus-Passion, BWV 244: VIII. Recitative: Aber am ersten Tage der süssen Brod
Samuel Ricke
3:00 Est. Play
Time
38 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organ Treble 20 30 8 6 92%
Bass 24 0 8 5 97%
View all 16 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organ Treble 20 30 8 6 92%
Bass 24 0 8 5 97%
Continuo. Bass 24 0 8 5 97%
Violone Bass 24 0 8 5 97%
Evangelist. 16 0 6 4 79%
Violino
I.		 Treble 15 0 5 6 69%
Treble 18 0 5 5 67%
Viola. 18 0 5 6 69%
Basso. Bass 17 0 5 4 63%
Alto. 13 0 4 3 42%
Bassoon Bass 21 0 6 4 42%
Soprano. 13 0 5 2 39%
Flauto
traverso
II.		 Treble 12 0 2 3 29%
Oboe
II.		 Treble 13 0 2 3 29%
Flauto
traverso
I.		 Treble 12 0 1 3 26%
Oboe
I.		 Treble 12 0 1 3 26%
 
J.S. Bach: Matthäus-Passion, BWV 244: VI. Recitative: Da ging hin der Zwölfen einer
Samuel Ricke
0:38 Est. Play
Time
9 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organo. Treble 11 12 3 2 88%
Bass 9 0 2 1 89%
View all 6 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organo. Treble 11 12 3 2 88%
Bass 9 0 2 1 89%
Continuo. Bass 9 0 2 1 89%
Evangelist. 11 0 2 3 89%
Violone. Bass 9 0 2 1 89%
Judas. Bass 8 0 1 2 33%
 
Gottes Zeit ist die allerbeste Zeit, Actus Tragicus, J.S. Bach, BWV 106, sonatina 1.
SDG
2:28 Est. Play
Time
20 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Contrabass Bass 16 0 3 2 100%
Bass 16 0 3 2 100%
View all 8 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Contrabass Bass 16 0 3 2 100%
Bass 16 0 3 2 100%
Alto
Recorder
I		 Treble 12 0 2 5 100%
Alto
Recorder
II		 Treble 13 0 3 5 100%
Bass
Recorder		 Bass 13 0 2 4 100%
Bassoon Bass 16 0 3 2 100%
Tenor
Recorder		 Treble 11 0 1 4 100%
Violoncello Bass 16 0 3 2 100%
 
8. Ach Gott, wie manches Herzeleid, J.S. Bach, BWV 3-6.
SDG
0:25 Est. Play
Time
9 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 13 0 2 2 100%
Treble 13 0 2 2 100%
View all 7 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 13 0 2 2 100%
Treble 13 0 2 2 100%
Bass 18 0 3 2 100%
Bass 18 0 3 2 100%
Soprano/Alto Treble 13 0 2 2 100%
Tenor/Bass Bass 18 0 3 2 100%
Contrabass Bass 11 0 2 2 50%
 
361. Bin ich gleich von dir gewichen, Werde munter, mein Gemüthe, J.S. Bach, BWV 244-40.
SDG
0:52 Est. Play
Time
12 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 12 0 3 5 100%
Treble 12 0 3 5 100%
View all 7 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 12 0 3 5 100%
Treble 12 0 3 5 100%
Bass 20 0 3 3 100%
Bass 20 0 3 3 100%
Soprano/Alto Treble 12 0 3 5 100%
Tenor/Bass Bass 20 0 3 3 100%
Contrabass Bass 15 0 2 3 54%
 
J.S. Bach: Matthäus-Passion, BWV 244: II. Recitative - Da Jesus diese Rede vollendet hatte (Share)
Samuel Ricke
1:08 Est. Play
Time
8 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organo. Treble 12 11 3 5 90%
Bass 6 0 2 3 88%
View all 9 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Organo. Treble 12 11 3 5 90%
Bass 6 0 2 3 88%
Continuo. Bass 6 0 2 3 88%
Violone. Bass 6 0 2 3 88%
Jesus. Bass 14 0 4 3 75%
Viola. 6 0 1 3 75%
Violino
I.		 Treble 7 0 2 3 75%
Violino
II.		 Treble 7 0 1 4 75%
Evangelist. 8 0 0 2 38%
 
11. Ach wie flüchtig, ach wie nichtig, BWV 26.6
SDG
0:32 Est. Play
Time
10 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 15 0 4 3 100%
Treble 15 0 4 3 100%
View all 7 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 15 0 4 3 100%
Treble 15 0 4 3 100%
Bass 26 0 8 3 100%
Bass 26 0 8 3 100%
Soprano/Alto Treble 15 0 4 3 100%
Tenor/Bass Bass 26 0 8 3 100%
Contrabass Bass 21 0 6 3 50%
 
14. Allein Gott in der Höh' sei Ehr', BWV 112.5.
SDG
0:53 Est. Play
Time
12 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 12 0 3 5 100%
Treble 12 0 3 5 100%
View all 14 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Voice Treble 12 0 3 5 100%
Treble 12 0 3 5 100%
Bass 18 0 5 4 100%
Bass 18 0 5 4 100%
Violin Treble 8 0 2 4 50%
Treble 6 0 1 5 100%
Horn
in
F		 Treble 8 0 0 5 100%
Oboe Treble 6 0 1 5 100%
Soprano/Alto Treble 12 0 3 5 100%
Tenor/Bass Bass 18 0 5 4 100%
Viola 9 0 1 4 100%
Oboe
col
Alto		 Treble 9 0 2 4 70%
Contrabass Bass 12 0 4 2 50%
Violoncello Bass 12 0 4 2 50%
 
87. Es ist das Heil uns kommen her (Ob sich's anliess, als wollt' er nicht). BWV 9.7
SDG
0:51 Est. Play
Time
12 Measures
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Soprano/Alto Treble 15 0 4 3 100%
Tenor/Bass Bass 25 0 8 3 100%
View all 4 Parts
Unique
Notes		 Unique
Chords		 Unique
Accidentals		 Rhythmic
Complexity		 Percent
Played
Soprano/Alto Treble 15 0 4 3 100%
Tenor/Bass Bass 25 0 8 3 100%
Contrabass Bass 16 0 3 3 51%
Violoncello Bass 16 0 3 3 51%