"Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt" (#39)

 

16' + 8'

"Jesus Christus, unser Heiland, der den Tod überwand" (#38)

 

"O Lamm Gottes unschuldig" (#37)

 

I used 16', 8', and 4'.

"Gott sey gelobet und gebenedeyet" (#36)

 

"Christ, unser Herr, zum Jordan kam" (#35)

 

In the manuscript, there's no natural sign in front of the F in the first measure of the third line, but it sounded wrong as an F#.

"Wir gläuben all' an einen Gott, Schöpfer" (#34b)

 

Like the last one, I split the notation into two sections because this is a longer tune, and I used 16', 8', and 4'.

This is the first tune with an Amen cadence.

Alternate notes:

Amen cadence:

"Wir gläuben all' an einen Gott, Schöpfer" (#34a)

 

In the first set of alternate notes, one of the changes is to insert a break into the first phrase (in between the second and third measures).  Because the notes are the same, however, there wasn't a way to indicate this in my notation.

Because this is a longer tune, I split the notation into two sections.

I used 16', 8', and 4'.

First set of alternate notes:

Second set of alternate notes:

"Mensch, willt du leben seliglich" (#33)

 

The title for this tune isn't in the Register, but I think I found it.  I could sort of make out Telemann's handwriting, and then I did a bit of research.

"Vater unser im Himmelreich" (#32)

 

I used 16', 8', and 4' on this.

"Diß sind die heil'gen zehn Gebot" (#31b)

 

I used 16', 8', and 4' on this.

"Diß sind die heil'gen zehn Gebot" (#31a)

 

"Herr Gott, nunschleuß den" (#30)

 

I used just 16' and 8' for this.

"Allein Gott in der Höh' sey Ehr" (#29)

 

In the penultimate measure of the second set of alternate notes, a half note is supposed to be replaced by a quarter note.  This left one beat unaccounted for, however, so I played it as a half note.  This explains the inconsistency in values between the blue half note in the upper staff and the blue quarter note in the lower staff.

"Ach, höchster Gott, verleihe mir" (#28)

 

I used just 8' and 4' for this.

"Sollt' es gleich bisweilen scheinen" (#27)

 

I used a different registration for this:  16', 8', and 4'.

"Sollt' es gleich bisweilen scheinen" (#26)

 

"Der du bist Drey in Einigkeit" (#25b)

 

This one is different in that, following the tune, there's some notation labelled (as far as I can make out) "Anderes Baß" - "other bass."

For the third time through, I kept the treble part the same but switched out the bass part.

Alternate notes:

Other bass:

"Der du bist Drey in Einigkeit" (#25a)

 

There are two tunes listed under this title, but unlike other instances of this in the Lieder-Buch, the second tune isn't given a separate number.  I divided them into 25a and 25b.  This is also the first tune that doesn't have alternate notes.

"Hilf, Gott, laß mir's gelingen" (#24)

 

Even in the Register, the title of this was a bit difficult to make out, so I don't know if I have that right.

"Nun freut euch, lieben Christen" (#23)

 

"Es ist gewißlich an der Zeit" (#22)

 

This tune illustrates more clearly than some of the others that the alternate notes can sometimes be combined in various ways.  For example, the C#s in the fourth and eleventh measures in the first set of alternate notes could also be included in the second and third sets.  For my recordings, though, I use each set of alternate notes only once and try to include as many as possible in one play-through of the tune.  I still had to do four iterations for this one, though.